AustLit

'Susan Fealy’s poetry volume imparts intricate, visual, moody and surreal subtleties, with the alacrity and refinement of a true philologist. The narratives reconfigure the subject matter, making salient the beautiful, the tender, the refractorily timeless with immersion in experience. Symbolism, allegory, and metaphor are richly deployed throughout the volume. Most certainly, Fealy has a refined appreciation for art, literature, and film; her talent for transmuting these into poetic creations attests to this. The reverence however, rests more in the visual than the existential: even the very sad is still very visually pristine (Flute of Milk; In Lieu of a Statue).'  (Introduction)

Award-winning Melbourne poet Susan Fealy’s first full-length collection is an engrossing and richly resonant volume, one that – like all good artworks – reveals greater connective complexity with each subsequent encounter. The work is divided into two parts, with section one’s epigraph drawing the first sixteen poems into a meaning formation that takes off from a Louise Glück work. In the selected Glück couplet, God addresses humans on the making of a life, referring to the ‘bed of earth’ and ‘blanket of blue air’ that are meant to sustain us. Fealy’s first section proceeds to explore this earth / sky schema, in poems that travel through such ‘earth’-associated ideas as materiality, body, and the present, as well as through notions relating to ephemerality, thought / imagination, and the past (‘sky’). The lengthier part two approaches similar territory from a different angle, using an excerpt from Robert Haas’ ‘A Story About the Body’ to foreshadow a heavier emphasis on events relating to the life cycle. Circulating thematically through both sections are questions regarding the relationship between mind and body, or, put another way, between intellect and creativity, an issue that comes to a head in the striking, quite personal concluding poem. ‘Writing with the Left Hand’ makes use of Hélène Cixous’ theory of writing through the body to suggest that perhaps the soma is the more trustworthy aspect of the human, and that it should somehow be liberated (‘cut off’) from cerebral limitations. But prior to this a wealth of figurative detail portrays life as far more fluid than binary, so that, on balance, this final piece offers no resolutory conclusion.' (Introduction)