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Writers of reviews often know more about an author than can be adduced directly from the book. This is often due to the author\u2019s known oevre and career, or to previous discussions that have taken place in the literary arena. But sometimes one\u2019s knowledge has been less widely shared. Discussing a book in relation to its author has been epitomised dismissively as \u201cwhat the artist had for breakfast,\u201d but certainly most reading will benefit from some additional knowledge about the circumstances surrounding a book.<\/p>\n \u00a0Abiding Chemistry<\/em> for me comes into this category. I, and many others (though not the poetry establishment), know a good deal about the background to these poems. We remember the author as the first woman Professor of English Literature at Glasgow University, as the poet of her first poetry book The Candlewoman\u2019s Trade<\/em> (2003). We recognise her as a scholar of Southern American literature who has travelled the world as professor, examiner, speaker, and as an American lady who has very much settled in England and Europe.<\/p>\n It is from her poems that we know of her Louisiana childhood, her extraordinary and at times traumatic family (here shown compactly in a few poems on pages 13-20), and in them that we read through these expertly sequenced poems, her memorial and tribute to her husband, who died unexpectedly at their newly acquired Sussex country home, less than three years after their relationship began.<\/p>\n This story too is already in the public (though not literary) domain. In an amazingly open, intense and moving blog, The News on the Street<\/em>, followed by many people all over the world, Susan Castillo Street wrote of the crisis when her husband fell in their home and suffered a head injury, and of the weeks of uncertainty while he remained in a coma. That blog came to its end and Susan writes a new blog now, but it is all still available. The poems are not limited by national traditions. They are not in either the current English or American style. Though she now lives in the south of England and has made contact with poetry groups there, and the author seems to regard Sussex as her home, her previous academic stint in Glasgow brought her into contact with Philip Hobsbaum and major Scottish poets. Where does an international writer fit in?<\/p>\n The voice is intellectual and often catches parable-like conclusions. In the first and title poem:<\/p>\n Perhaps love is its other name, and in Question:<\/em><\/p>\n I point up at the sky. There is droll humour elsewhere:<\/p>\n the rope gravediggers use and:<\/p>\n You always used to steal the duvet. and daring in some:<\/p>\n They say that at the moment an atomic bomb explodes Moving from an awareness of her early family at the start of the book, to closeness with her granddaughter in the last poem, the poet places the three year love affair in the context of her adventurous life with success and dignity, in a clear poetry that smiles out from every line. <\/p>\n <\/p>\n
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\nAbiding Chemistry<\/em> is a book about recovery. The voice of these poems is independent, charting a deep and important relationship and looking round to the world of family and place, before and after these events.<\/p>\n
\nthis abiding chemistry
\nthat binds the fragments close.<\/p>\n
\n\u201cThe Big Dipper\u201d I tell my child.
\n\u201cA question mark,\u201d she says.<\/p>\n
\nsouth of the Mason-Dixon line
\nis springy bungee cord.
\nup the shadows burst once more
\nin showers of dark soil<\/p>\n
\nOne day when we lie together
\ndeep in Sussex soil, you\u2019ll be up
\nto your old tricks.<\/p>\n
\noutlines shimmer, colours radiate out
\nshadows of what was imprinted on the walls
\ntime slows, stops, crystallised
\nin all its fractures.<\/p>\n
\nThe actual publication is American in style, and the project has been completed with alacrity and practicality, presenting as it does an essentially memorial volume, while also being worthy of an academic and a poet.<\/p>\n