Three definitions of the word Yield give meaning to the odyssey undergone in Claire Dyer's third collection: a journey which sees a son become a daughter, and a mother a poet for both of them. Charting these transitions, the poems take us through territories known and familiar - landscapes of childhood, family and home - into further regions where inner lives alter, outer ones are reimagined. Whether evoking clinic visits, throwing away old boyhood clothes, grieving over what's lost, these honest and unashamed poems build to celebrate that place at the heart of motherhood where gender is no differentiator and love the gain. 'The actual things of the world are everywhere in Claire Dyer's Yield - thick socks, Glenfiddich, bathrobes, Swarfega, Swedish Meatball Wraps - and in the spaces between move families, friends, lovers, their interrelations astutely picked out as the unsaid is made solid. But such rooted settings don't prevent flight. Any poet who can end a poem with the lines "the bones in its spine small white discs of" or "Fuck the gob-lin. Rock it" has earned the right to our attention.' ~ Matthew Caley 'There is so much that is uncompromising in Claire Dyer's poems: the cruel precision of each word, line and image, and the sharply perfect intelligence of every metaphor and conceit. And yet Yield is a warm embrace of a book. A chronicle of love, generosity and ethics, Yield is a restorative piece of writing - a solace.' ~ Kathryn Maris

Whether focusing in on catching fish off a pier, learning to speak Bird at night school, riding towards inspiration on horseback or thinking about manatees, the poems in Claire Dyer's second collection offer a slantwise look at some of the experiences, both real and imagined, that can shape our lives. Influenced by Elizabeth Bishop and the Morpho butterfly, the pieces in Interference Effects shift and alter depending on the reader's viewing angle. Infused by the colour blue, they compare a farmer harvesting to a recipe for Victoria sponge; show boys learning to swim as another is buried at sea; tell of a heart that's left at a checkout as a curator's assistant gives hers in for safekeeping. These pairings search for definition and meaning whilst acknowledging the beauty and strength in never actually being able to capture either.

On the night Odie May and her married lover are due to celebrate him leaving his wife, Odie goes out to buy a bottle of his favourite wine and, on her way home, is murdered by a woman in a lime green coat. But Odie's story does not end there... Next, she finds herself in a waiting room with a man who introduces himself as Carl Draper and who tells her he is her Initial Contact. He is carrying a clipboard and invites her into an interview room. Over the course of her interview, Carl guides Odie back through the years, asking her about the significant others in her life in a quest to work out what she's done wrong, who might have murdered her and why. As Odie comes to realise the truth about herself, the life she's led and her death, she's given a choice: Carl can put her back to the moment before she was murdered and prevent it from happening, but this comes at a price Odie doesn't know if she can pay and, as she decides, she not only begins to understand what she has to do to become the person she should have been all along, but who is her most significant significant other.

Paddington station, nine a.m., rush hour. As the crowds ebb and flow, time suddenly stands still for two people: Fern and Elliott, ex-lovers who parted twenty-five years before and never expected to see each other again. But here they are, face to face, and the connection is as powerful as it was the day they first met. Their lives have moved on - to marriage, children and divorce - yet neither has stopped regretting the day that drove them apart. Fern gives Elliott her number and they tentatively arrange to meet again that evening when both will be travelling back through the station. And, as the day ticks on, and the memories resurface, both Fern and Elliott reflect on the past. As their emotions go round in circles, so does the Paddington clock, counting down the minutes to eight p.m. - and the moment the future is in their hands.

Tim Cunningham directs this darkly comic British crime thriller. Hitman Bob Bass (Tom Charnock) appears to be handed a relatively straightforward assignment when he is told to execute a crooked accountant and bury his body. However, as he has a bad back, Bob decides to make the accountant dig his own grave first. This creates a number of complications. Firstly, the accountant tells Bob he knows where to locate a stash of hidden millions and offers Bob a cut if he spares him. Then a gang of thugs arrive looking for the money and a family and a dog out for a walk stumble into the picture...