What is Near — Kay Syrad
[P]oems like delicate essays, in the sense of attempts—circling, being-with, tentative and tender […] poems like seed heads, fragility and delicacy, balanced, a symmetry […] seeding more thinking [… a tender] engagement with moss, air, horizon, the political, the scientific, the human, the non-human and the spaces-between where these things meet. The space on the page, within the poems, and between the poet writing and the world observed, is so delicately balanced.
— Dr. Kim Lasky
what is left unsaid
what is beneath
what is noticed
what is undeclared
what evolves, enmeshes, becomes, denies
like a movement—eyes dance on page, not sure where to go
feeling accumulate through pattern of words — many unsaid, but felt
What is near talks about what is far—deep time—what is within—unsaid
earth suffering earth joy, despite it all
— Chris Drury
[an exploration of] the political, the specifics of natural things (eg. birds, moss, trees, landscape), boundaries and spaces; and the sense of place, all with sensuality and infinite sensitivity, including the self and its relationship to nature. We were especially aware of how [the poems] handle the very contemporary sense of language with all its problems of reference [exploring] the interconnectedness of all things through linguistic and visual means.
— Professor Peter Abbs & Dr. Lisa Dart
Coming in September — pre-order now
Kay Syrad’s publications include a collection of poetry, Double Edge (Pighog, 2012); two novels, The Milliner and the Phrenologist (2009, reprinted 2012) and Send (2015, both published by Cinnamon); Exchange, an art-text collaboration with environmental artist, Chris Drury (Little Toller, 2015), based on a rural residency and exhibition for the climate change cultural organisation, Cape Farewell; and the poetry collection, Inland (Cinnamon Press).
Kay, who lives in East Sussex, often collaborates with artists: she has worked with the international art collective Sensory Sites and, between 2013-2016, was the commissioned writer on Last Station, a multi-media arts project exploring the history of the British lightships that used to be stationed around Britain’s coasts; here she wrote the libretto for a choral piece featuring an original score by the jazz and world-musician, Trevor Watts, and her artist’s book for the project, 1000 tasks: work of the lightship men, was bought by the National Maritime Museum for their permanent collection. With the performer Clare Whistler she has contributed work to Art: Language: Location (Cambridge, 2013) and Telling Stories II at Sevenoaks Library Art Gallery (2014). Kay also writes reviews and articles for various poetry journals.
Visit Kay’s site to discover more.