Colette Bryce – författare

Colette Bryce's The Heel of Bernadette was one of the most highly praised new collections of recent years, winning both the Aldeburgh Prize for best first collection, and the Strong Award for best new Irish poet. Her second, The Full Indian Rope Trick – the title poem already the winner of the 2003 National Poetry Competition – sees a leap forward in confidence and range, with Bryce's dark lyric and darker wit finding many different voices. Whatever subject the poet takes – an Ulster childhood and the child's growing awareness of her divided community, the surreal life of the natural world, or the more disturbing shadows thrown by our love and desire – it is always addressed with both a compelling emotional candour and an astonishingly musical intelligence.Pillar TalkThat magician/who stationed himself on a pillar/over Manhattan/for thirty-five hours/knows nothing whatever/of loneliness/or how it is/for people like us/who have no soft acre/of cardboard boxes/not even the eggshell/flashbulbs of the press/or the well-meant antics/of neighbours with a mattress/to temper the thought/of the hard, hard earth,/to break the fall./Nothing at all.

The dark attunes our eyes to detail the light can sometimes conceal; similarly, Colette Bryce’s new poems are ‘slant tellings’ that reveal strange and true reflections. Using a wide range of imaginative strategies, Bryce examines the ways in which time is held, space enclosed – and a life framed and given meaning: a face in a broken mirror, a spider trapped under a glass, or a stolen kiss in a car-wash. Bryce’s two previous prize-winning collections were widely admired for their marvellously seductive music and their speed of thought; Self-Portrait in the Dark widens and deepens the poet’s scope, and is her most emotionally compelling collection to date.Praise for The Full Indian Rope Trick‘[Bryce’s] poems, sensitive as the needle that registers some distant earth tremor, are delicately poised . . . Bryce’s vision is questing, disquieting, dark . . . as she seeks out the truths of life and love that transform the human heart. This is a confident, complex, subversive collection that shows us the magic by which one becomes a mature poet’ The Times

Colette Bryce’s first collection is a book of songs: songs of kinship and desire, Ireland and Spain, of myth and belief. Bryce's sensuous and sinuous verse follows the convoluted lines of fate and political divide, and turns on questions of love and faith – the poet’s relentlessly clarifying sense leaving them strengthened or shaken.In its insistent music – whatever dark and surreal turns it might take – Bryce’s poetry is ultimately a celebration of singing and of singing out, for its own sake. The Heel of Bernadette announces one of the most unusual and distinctive voices to have emerged from Northern Ireland for a generation.

Colette Bryce’s first collection is a book of songs: songs of kinship and desire, Ireland and Spain, of myth and belief. Bryce's sensuous and sinuous verse follows the convoluted lines of fate and political divide, and turns on questions of love and faith – the poet’s relentlessly clarifying sense leaving them strengthened or shaken.In its insistent music – whatever dark and surreal turns it might take – Bryce’s poetry is ultimately a celebration of singing and of singing out, for its own sake. The Heel of Bernadette announces one of the most unusual and distinctive voices to have emerged from Northern Ireland for a generation.

The Whole & Rain-domed Universe is Colette Bryce's much-anticipated follow-up to Self-Portrait in the Dark. The book presents the reader with an extraordinarily clear-eyed, vivid and sometimes disturbing account of growing up in Derry during the Troubles, with many ghosts both raised and laid to rest. The Whole & Rain-domed Universe is a riveting poetic document of the time; Bryce turns her clear, singing line to darker ends than she has before, describing not just the warmth and eccentricity of family and the claustrophobia of home-life, but also the atmosphere of suspicion, and the real and present threat of terrible violence. Bryce is one of the most widely acclaimed poets of the post-Heaney generation, and this is her most directly personal and compelling work to date.

The Whole & Rain-domed Universe is Colette Bryce's much-anticipated follow-up to Self-Portrait in the Dark. The book presents the reader with an extraordinarily clear-eyed, vivid and sometimes disturbing account of growing up in Derry during the Troubles, with many ghosts both raised and laid to rest. The Whole & Rain-domed Universe is a riveting poetic document of the time; Bryce turns her clear, singing line to darker ends than she has before, describing not just the warmth and eccentricity of family and the claustrophobia of home-life, but also the atmosphere of suspicion, and the real and present threat of terrible violence. Bryce is one of the most widely acclaimed poets of the post-Heaney generation, and this is her most directly personal and compelling work to date.

The dark attunes our eyes to detail the light can sometimes conceal; similarly, Colette Bryce’s new poems are ‘slant tellings’ that reveal strange and true reflections. Using a wide range of imaginative strategies, Bryce examines the ways in which time is held, space enclosed – and a life framed and given meaning: a face in a broken mirror, a spider trapped under a glass, or a stolen kiss in a car-wash. Bryce’s two previous prize-winning collections were widely admired for their marvellously seductive music and their speed of thought; Self-Portrait in the Dark widens and deepens the poet’s scope, and is her most emotionally compelling collection to date.Praise for The Full Indian Rope Trick‘[Bryce’s] poems, sensitive as the needle that registers some distant earth tremor, are delicately poised . . . Bryce’s vision is questing, disquieting, dark . . . as she seeks out the truths of life and love that transform the human heart. This is a confident, complex, subversive collection that shows us the magic by which one becomes a mature poet’ The Times

Shortlisted for the Poetry Pigott Prize in association with Listowel Writers’ WeekThrough four highly acclaimed collections, Colette Bryce has steadily consolidated her position as one of the most important of the younger generation of Irish poets. Possessed of a preternaturally acute ear and eye, Bryce is the recorder and observer of tense times: perhaps no contemporary poet has better mapped the fault-lines of nation and family, of love and tribal loyalty, of landscape and border. In all this, Bryce again and again declares the primacy of song as a redemptive practice, and a glorious end in itself: no voice is more accurately pitched or effortlessly musical. Selected Poems draws together the best of her poetry from The Heel of Bernadette to The Whole & Rain-domed Universe, winner of the Ewart-Biggs Award, and is a marvellous introduction to the range and sweep of Bryce’s work.

Shortlisted for the Poetry Pigott Prize in association with Listowel Writers’ WeekThrough four highly acclaimed collections, Colette Bryce has steadily consolidated her position as one of the most important of the younger generation of Irish poets. Possessed of a preternaturally acute ear and eye, Bryce is the recorder and observer of tense times: perhaps no contemporary poet has better mapped the fault-lines of nation and family, of love and tribal loyalty, of landscape and border. In all this, Bryce again and again declares the primacy of song as a redemptive practice, and a glorious end in itself: no voice is more accurately pitched or effortlessly musical. Selected Poems draws together the best of her poetry from The Heel of Bernadette to The Whole & Rain-domed Universe, winner of the Ewart-Biggs Award, and is a marvellous introduction to the range and sweep of Bryce’s work.

A brilliant, moving book . . . Reminiscent of one of this century’s great elegies, Denise Riley’s A Part Song, The M Pages is similarly probing, hurt, skeptical and smarting . . . in a book packed with good poems.' Irish TimesThe reader might be justified in thinking that the ‘M’ in the title of Colette Bryce’s new collection could stand for ‘mortality’, ‘mourning’, or the spontaneous and cathartic practice of the writer’s ‘morning pages’ – until they reach the book’s arresting central sequence. Addressed to a named ‘M’ who has suddenly died, this fourteen-part poem depicts the experience of unexpected bereavement, and the altering effect such events have on the living. It does so unflinchingly, gracefully and honestly, as Bryce harnesses her characteristic insight, forensic eye and tightly woven music to deeply moving ends – while demonstrating again why she is regarded as one of the leading Irish poets of the age. As the book unfolds, it becomes clear that her other subjects – of family, travel, history and ageing – all orbit the gravitational centre of The M Pages. What emerges is an important book about love, fear, self-censorship and the limits of our knowledge, and what we can and cannot say about some of the most profound events we face.

A brilliant, moving book . . . Reminiscent of one of this century’s great elegies, Denise Riley’s A Part Song, The M Pages is similarly probing, hurt, skeptical and smarting . . . in a book packed with good poems.' Irish TimesThe reader might be justified in thinking that the ‘M’ in the title of Colette Bryce’s new collection could stand for ‘mortality’, ‘mourning’, or the spontaneous and cathartic practice of the writer’s ‘morning pages’ – until they reach the book’s arresting central sequence. Addressed to a named ‘M’ who has suddenly died, this fourteen-part poem depicts the experience of unexpected bereavement, and the altering effect such events have on the living. It does so unflinchingly, gracefully and honestly, as Bryce harnesses her characteristic insight, forensic eye and tightly woven music to deeply moving ends – while demonstrating again why she is regarded as one of the leading Irish poets of the age. As the book unfolds, it becomes clear that her other subjects – of family, travel, history and ageing – all orbit the gravitational centre of The M Pages. What emerges is an important book about love, fear, self-censorship and the limits of our knowledge, and what we can and cannot say about some of the most profound events we face.