![]() This sort of artistic transference is nicely illustrated in the poem “is the image already there,” where the poet, in conversation with a painter friend, proposes that: These poems appeal because an extra dimension is seemingly gained by interpretation, or by focusing on one particular passage in a photograph or a painting and building on it, setting in train the poet’s own creative processes. Much of the poetry is inspired by, or is reflective of, the visual arts. Such a free-for-all might be considered an easy option for a poet unburdened by the discipline a more thematic work calls for, but don’t be deceived: control and direction are very much here all right, if lightly worn, and serve to compliment and strengthen the poet’s vision. You’ll come to expect the unexpected, because leafing through this book is akin to walking through an exhibition, through a series of galleries wherein Morehead’s far-reaching imagination is released. Nor, after reading four exquisite haiku on the subject of petals, will you be thrown by the discovery of the bones of a French bulldog tucked inside an artist friend’s hearth. Such is the breadth of subject matter, you will not be in the least surprised to come across a cement beaver, its iron teeth exposed, gazing up at a lamp post, or hear the cacophony of bells from a pinball machine. Whatever your tastes you’ll certainly find something to chew on in Morehead’s collection of twenty-seven poems in three acts poems that in their sheer randomness command attention, as indeed do the fine-line drawings and atmospheric photographs that enhance and punctuate them. You might be in the mood for a crystal-clear lyric, perhaps, or your lethargy demands something a little more stirring you may be in need of the discordant, the unforeseen, to trigger some memory, some vague sentiment or reaction or it might be that a flip chart of arresting imagery might just do the trick. ![]()
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