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In Moya Cannon's new collection, Hands, the commonplace is transfigured by an attentiveness that jolts us into wonder. The poems sing of deep connections: the impulse to ritual and pattern that, across centuries, defines us as human; a web of interdependences that sustain the 'gratuitous beauty' of the planet. Hands travels in time and space, mapping journeys we make as ageing, illness, and the deaths of parents shift our responses to our place in the fabric of the world, where we live in the grace of love and sunlight.
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Veröffentlichungsjahr: 2012
MOYA CANNON
for John
I thank the editors of the following magazines in which some of the poems have previously appeared:
The Cork Review, Five Points, Nordic Irish Studies Journal, PN Review, Poetry International, Poetry Ireland Review, The Shop, Southword, The Stinging Fly, Temenos.
Sincere thanks are also due to the Centre Culturel Irlandais, Paris; the Virginia Centre for the Creative Arts, Amherst; and the Centre d’Arte i Natura de Farrera for their gracious hospitality during the writing of some of these poems. I wish also to acknowledge the generous support of the Arts Council of Ireland, Charles Heimbold and Villanova University.
Title Page
Dedication
Acknowledgements
Soundpost
Reed-Making
Driving back over the Blue Ridge,
Openings
Still Life
All this green day
Only the shadows
October
Val de Luz
Farrera Light
No Good Reason
Hands
Orchids
Yesterday I was listening on the iPod
Parisii
Little Skellig
Sea Urchins
The Fertile Rock
Lady Gregory at Cill Ghobnait
Nausts
Eliza Murphy
Crater
The Magician’s Tale
In the Underground Car Park
Brought to Book
Loch
‘We Are What We Eat.’
Alma,
I thought
Two Doors
Green Cities
Swans at Nimmo’s Pier
The Washing
The Train
Halloween Windfalls
Death,
The Red Tree
Hedgehog
RNA
Consider the Cocosphere
Blue Saxophones
The Important Dead
In the Lava Pipe
The white cyclamen
Flowers at Loughcrew
Apples and Fire
Harmonic Vases
He looks so carefully
Midday at Stockholm Airport
Night Road in the Mountains
About the Author
By the Same Author
Copyright
for the Con Tempo String Quartet
‘Its tone came from the soundpost –
it was made from a bird’s bone.’
A musician tells of his friend’s fiddle,
the one on which so many
well-shaped tunes
had been turned and played.
In French it is called l’âme,
the instrument’s soul;
in Cremona, when the master-luthier
brought a supply of slow-growing timber
down from the high Alps,
to shape around his moulds,
it was called l’anima –
a round peg of wood,
positioned carefully inside the instrument,
almost under the bridge,
to hold apart belly and back,
to gather every vibration of the strings,
every lift and fall of the bower’s wrist,
to carry all that is in us of flight,
through the woods of the instrument.
