Archives » Kathleen Jamie

The Overhaul by Kathleen Jamie

Picador, 2012, 59 p

 The Overhaul cover

Winner of the 2012 Costa Poetry Award, shortlisted for the 2012 T S Eliot Prize.

35 poems, most one pagers, one six pages, the rest two. 2 are eftir Hölderlin (as is one in Jamie’s later collection The Bonniest Companie). Hölderlin seems to be one of her favourite models. Most poems here are in English with the odd Scots word but some are entirely Scots. Nature, or those working in the outdoors, is an inspiration for many and there is an abiding seriousness to her poems, though she is not beyond essaying a pun for a last line. An odd quirk was that some poems had missing full stops at their conclusion, as if they’re unfinished. Understandable enough for those two entitled Fragment 1 and Fragment 2.

I most enjoyed Excavation and Recovery with its evocation of deep time partly because I have seen (in Perth and Abernethy Museums respectively) the log boat whose archaeological recovery it partly describes and a depiction of the dig process.

The Bonniest Companie by Kathleen Jamie

Picador, 2015, 70 p including 1p Notes and Acknowledgements.

The Bonniest Companie cover

This, Jamie’s latest book of poetry, won the Saltire Society Book of the Year Award for 2016.

There are 47 poems here of which only two stretch over 1 page in length. Most take the form, if not the formal structure, of a sonnet, though Soledades has eight lines of what look like prose before opening out in its last three lines. Some are very short indeed. The last, Gale, has only 16 syllables, shorter than a haiku. The longest, Another You, bears out the potency of cheap music, the titular deer in The Hinds are “the bonniest companie”. Ben Lomond refers to the bonny banks in a poem which, like the song containing those lines, is about death and remembrance. 23/9/14 is an injunction to gird up again after the Scottish Independence Referendum. High Water compares ocean tides to an adulterous affair, Scotland’s Splendour scopes out the delights of memories from a book stumbled on in a charity shop, Wings Over Scotland is a litany of the recorded deaths of birds of prey on various landed estates, taken – verbatim it would seem – from the original reports.

The language Jamie uses goes from standard English to various degrees of Scots depending on the poem. Migratory II, (eftir Hölderlin) is the most uncompromisingly Scottish. The prevalence of poems about animals or landscape places Jamie’s poetry firmly within the tradition of Scottish literature.

Pedant’s corner:- midgies (I know Scottish spelling is a moveable feast but midges, please,) “one less left” (“one fewer” sounds more natural to me.)

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