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Longlisted for the New Angle Prize for Literature 2025 A London Review Bookshop Book of the Year Rebecca Goss' fourth and most ambitious collection, Latch, is a study in the act of returning. It is about reconnecting to a place, Suffolk, and understanding what it once held, and what it now holds for a woman and her family. These poems unearth the deep, lasting attachments people have with the East Anglian countryside, gathering voices of labour, love, and loss with compelling particularity. The book is various, unpredictable: memory and magic interweave, secrets tangle with myth. As in her earlier books, Goss again draws on her distinctive ability to plough difficult, emotional terrain. Here is an anatomy of marriage, her parents' and her own, while the natural world becomes an arena for the emotional push and pull that exists between mothers and daughters. The return to a childhood home recalls young siblings retreating into nature as they steer the adult lives that disintegrate around them. Readers will find themselves beckoned to barns, fields, weirs, to experience both refuge and disturbance: we are shown a county's stars, and why a poet needed to return to live under them.
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Rebecca Goss
CARCANET POETRY
FOR MY PARENTS
‘and I, in my brand new body, which was not a woman’s yet, told the stars my questions’
anne sexton from ‘Young’
It’s as if something
calamitous is coming.
Their lament
rising across fields,
its claim on the dawn
keeping all the birds silent.
I want to know what stirs them,
the force of this pack.
What causes them to stand,
muscled frames trembling,
throats full of baleful song.
I am wakeful, rapt
and disrupted, their bays
sonorous against glass.
Should I slide the thin pane,
push my upper body
into emerging light,
let them scent out my sex,
tell them
we are all afraid.
O this night, this bidding,
claws at the latch,
pure thunder of them running,
my mouth opening
to the cool
and agitated air.
The cygnets draw a crowd
before they are born.
Mother swan’s occasional
rise to nudge her ovate crop,
beak slow and practised
at the turning. Father swan
circling, rearing at dogs.
We return to see one, peeping,
puff of grey from under her
and the next week come back
to find a family gone. One,
unhatched, remaining.
Its marble lonely in the bowl.
Your hand slips out of mine
as you bolt to waiting swings,
leaving me with the egg, and all mothers
who lay their babies down, knowing
they cannot stay beside them,
must lower their own bodies into water
and continue with the swim.
I have asked for this county
to soften in you
your marrow to swim
with its flint and barley
that you learn villages
and their stiles
sense the shadows
of churches
want stars in a field
bend to its soils
black and alluvial
swallow all the coasts
salt in our kisses
close a cottage door
stay with me behind it
Hay, recently harvested, turned to those sweet-smelling
blocks, barn-stacked, almost to the roof, forbidden.
Only the dog watched our clamber, taking us
to where the swallows come, and up there
we leapt and trod the dry bundles, our elevated play.
Then one of us was gone. Slipped unnoticed into a gap
our parents warned us of, how this strawy structure
could snatch a boy, or girl, and the plummet too great,
too narrow to save them. We needed to hear him
before we laid our chests at the edge of the hole, my arm
voted longest to stab into the deep, a reaching into myth
where I felt his plump hand and heaved, watched his flop
into the light. Circled, shaking, we tried to still our
breathing, made the necessary promise, headed back
to the house and kitchen, mother cooking, the fall a secret
held far into our adult lives. Forever haunted by it morphing.
The drop deeper, our mother unable to remember
what made her look out of the window. Maybe she felt us
coming, or maybe our approaching shadows interfered
