`There is always a history to the shape of the mind', wrote
Jacqueline Rose recently, and one of the continuing preoccupations
of these poems has been both to create a sense of the many forms of
that shape and to register the history of the worlds which shape it
and to which it responds with pleasure, guilt, anger, irony, hatred
or love. These are poems which welcome distraction, in various
forms, and which seem to have a lasting interest in registering and
reproducing a sense of the uncanny. The strategies adopted veer
between lyric mannerism and reconstructed second-hand words and,
taken together, the poems chart a lazy form of investigative
political thinking through the last three decades of the twentieth
century and their phenomena.
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