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What’s in a review?: Ruth Ozeki’s ‘The Book of Form and Emptiness’
Ruth Ozeki’s The Book of Form and Emptiness (Canongate, 2021) won the 2022 Women’s Prize for Fiction. It tells the story of Benny Oh, a teenager who is negotiating the untimely death of his father, Kenji, and Annabelle, Benny’s mother, who is additionally struggling with her own health and hoarding habits. Benji also hears voices,…
Mirror mirror: the ‘reverso’ poem in Kim Moore’s ‘All the Men I Never Married’
All night a bird beats its wingsbehind the wall. In the space between roomsit has the quietest scream. (I realise I cannot livewithout desire.) At first I think it’s trappedbehind the wall. Is it another birdthat moves, that seems to fall and rise again?I am hiding somethingin the mirror. In the morningI am searching for…
Archiving grief: Patricia Lockwood’s ‘No One Is Talking About This’
Patricia Lockwood’s No One Is Talking About This (Bloomsbury, 2021) won last year’s Swansea University Dylan Thomas Prize, and was cited especially for its depiction of the Internet. In the book, the ‘portal’ is a virtual world that can provide access to ‘everywhere’, but is a largely desensitised space; it is where the protagonist spends…
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About me
I’m Nick Taylor-Collins, an academic lecturing in English Literature at Cardiff Metropolitan University. On this blog I write about one of my specialisms: hyper-contemporary literature. I define this as brand-new writing that hasn’t (yet) gathered a critical consensus. My book, Judge for Yourself, is all about the topic, and this blog is intended as a partner to the book. See here if you want to know any more about me.
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Hyper-contemporary Literature 