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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
In her fourth collection of poetry, Where Water Meets the Rock, Lindsey Martin-Bowen explores loss and recuperation in three sections. Erosion, the book’s elegiac opening sequence, laments a trinity of tragic Greek personas: Pasiphae, Psyche, and Antigone. The middle section, Frenzies, a series of zany poems, emulates the ensuing topsy-turvy world that follows deep loss. And finally, On the Shore completes the triad, concluding that by re-seeing and re-building life, one can heal the psyche and the spirit. Once again, through the use of her recurring sea-rock metaphor, Martin-Bowen has employed a poetic technique that effectively maintains both a visual and auditory descriptive style, which, according to New Letters editor Robert Stewart, is defined by her refreshing reliance on imagery and understatement.
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This title is printed to order. This book may have been self-published. If so, we cannot guarantee the quality of the content. In the main most books will have gone through the editing process however some may not. We therefore suggest that you be aware of this before ordering this book. If in doubt check either the author or publisher’s details as we are unable to accept any returns unless they are faulty. Please contact us if you have any questions.
In her fourth collection of poetry, Where Water Meets the Rock, Lindsey Martin-Bowen explores loss and recuperation in three sections. Erosion, the book’s elegiac opening sequence, laments a trinity of tragic Greek personas: Pasiphae, Psyche, and Antigone. The middle section, Frenzies, a series of zany poems, emulates the ensuing topsy-turvy world that follows deep loss. And finally, On the Shore completes the triad, concluding that by re-seeing and re-building life, one can heal the psyche and the spirit. Once again, through the use of her recurring sea-rock metaphor, Martin-Bowen has employed a poetic technique that effectively maintains both a visual and auditory descriptive style, which, according to New Letters editor Robert Stewart, is defined by her refreshing reliance on imagery and understatement.