It represents what Seamus Heaney, the Nobel Laureate in literature,
called art's power of "redress." Stallworthy's poems evoke women
survivors; the poet Anna Akhmatova; the painter Francoise Cilot,
Picasso's lover; a survivor of the siege of Stalingrad; and a woman
who escaped war torn Poland, carrying in her bedding-roll a
coverlet she was embroidering for her fiance and herself. This
refugee's story bears a curious inverse relationship with that of
the "Lady of Shalott": Tennyson's patrician artist in her tower,
forced to choose between the world and its "shadows" in her mirror
opts for the world and is destroyed; Stallworthy's peasant artist
engages with the world and is sustained by an art that reflects
that engagement.
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