- Paperback: 80 pages
- Publisher: Thirsty Books (9 Aug 2004)
- Language English
- ISBN-10: 1902831721
- ISBN-13: 978-1902831725
- Product Dimensions: 21 x 13.6 x 0.8 cm
- Average Customer Review: 1.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 1,646,961 in Books (See Top 100 in Books)
- See Complete Table of Contents
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More About the Author
Product Description
Book Description
The long-awaited first collection from Orkney-based Alison Flett (formerly Kermack).
"Her poems, transcribed in a no-holds-barred Edinburgh vernacular, keep their sharpest punches for the end. This is poetry with a purpose."
Scotland on Sunday
The long-awaited first collection from Orkney-based Alison Flett (formerly Kermack).
The author will appear for two performances only at the Edinburgh Festival Fringe (Venue 264) on 11th and 13th August 2004 as part of the Thirsty Books Live! extravaganza THIRSTY LUNCH.
Funny, tender and uncompromising, the exuberant confidence of Alison Flett's poetry is a welcome reminder of the depth and strength of the Scottish women's literary heritage. It is made possible by her perceptive and sensitive response to women poets who have gone before her.
Her wilful adoption of previously male-dominated urban poetic language bridges both male and female traditions. Her work links the ever-growing consciousness of Scottish women, the notable achievements of poets like Ian Hamilton Finlay and Tom Leonard and the social and political struggles of the people.
Readers of magazines and poetry anthologies will be familiar with Flett's work. Described as a latter-day beat poet with a warm and immediate style, it is time she reached a much wider readership.
About the Author
Alison Flett was born and bred in Edinburgh but now lives in Orkney. She has performed her work on television and radio and at readings throughout the country. She recently won the Belmont prize for children's poetry and has been shortlisted for the 2004 Scotsman/Orange short story award. She is currently working on a book of short stories about island life
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Most Helpful Customer Reviews
0 of 2 people found the following review helpful:
1.0 out of 5 stars
Ever had the feeling you've been cheated?,
This review is from: Whit Lassyz Ur Inty (Paperback)
To say reading this was a disappointment understates the case hugely. I bought the volume to see what the excitement was about, immediately recognised one or two of the poems from several years ago (when the writer published as Alison Kermack) groaned but read on. I really shouldn't have. It is one thing for a poet to be heavily influenced by, or even to "borrow" certain aspects of the style of voice of another: but the ventriloquist act maintained by taking over another poet's voice entirely is not a "wilful adaption of male dominated urban poetic language", merely a wilful and ultimately pointless refusal to do the thing which every genuine writer has to do - find his/her own voice. Flett advances the use of urban poetic language not one inch from where it was left by Tom Leonard 20+ years ago. And applying certain of Leonard's narrative techniques as well as his voice to what are very much one-dimensional, hackneyed treatments of wumman's issues merely aggravates the offence. "Gloriously playful language...artful, mischevious love" my arse: never trust an overwritten blurb.
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
5.0 out of 5 stars (1 customer review) 1 of 1 people found the following review helpful:
5.0 out of 5 stars
Not for the Faint of Heart,
By David Brannan - Published on Amazon.com
This review is from: Whit Lassyz Ur Inty (Paperback)
I`ve been tracking Alison Flett Sutherland and her poetry for the last ten years. In 1996, I came across the poems of Sutherland, then known as Alison Kermack, on the Rebel Inc website and was instantly hooked.
Sutherland lived in Edinburgh before moving recently to the Orkneys with her children. "Whit Lassyz Ur Inty" ("What Lassies Are Into") includes work published in two earlier books, "Restricted Vocabulary" by Clocktower Press and "Writing Like a Bastard" by Rebel Inc, and in various anthologies and magazines beside the work of other cutting-edge Scots authors such as Irvine Welsh. "Her booklet was one of Clocktower's fastest sellers," says Duncan McLean in the introduction to "Ahead of Its Time," an anthology of Clocktower pieces published between 1990 and 1996. "What Lassyz Ur Inty," as the title suggests, is written in the Scots dialect, rendered phonetically. Indeed, these poems are not for the faint of heart. However, anyone familiar with the works of Burns or Welsh should have no trouble navigating his or her way through this book. Sutherland is at her best when she is both humorous and topical. "An Education" and "Bemused" both address attempts by schools to homogenize and sanitize language. In the last line of "An Education," Sutherland makes it triumphantly clear that these attempts have failed. "Patriotic Pish" imagines three members of the Westminster Parliament huddled in the men's lavatory, their different colored urines gathering to form a Union Jack that poisons the whole island's water supply. In "Legal Expedition," the narrator is searching for a weapon of mass destruction, but can't find any. The solution: "jist gie thum summy ours // BANG!" Finally, in "Fat Lady Sings," a woman asserts that she is not the stereotypical thin person trapped inside a fat one, but a gigantic goddess inside a mortal: "whit yoo seez / jist / thi haffy it." This is powerful stuff! Although at times Sutherland's poetry misses the mark, namely, in her more sober pieces or her concrete poetry, I believe that she is a better poet than the majority of her contemporaries in the English-speaking world. I have delighted in her work for the past decade, and I pray that we may all continue to do so for many decades to come. |
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