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  The Missing Months

  Lachlan Mackinnon

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  Many of the poems in The Missing Months occupy the strange hiatus afforded by lockdown. They look forward as well as back, toying with possible futures, enthused by utopian dreams or fearing cultural and bodily entropy. They celebrate and mourn the lives of friends and relatives, captivated by carefully tended images from the past. Lockdown's 'missing months' in the world of a four-year-old granddaughter are laid down and remembered for her. Familiar objects - a park bench, stones, grass, stars, windows - are reanimated. This poetry of imaginative journeying 'stretches/Banks on a slope of air and turns' like the heron it watches. Between the crackle of radio signals and rain, the Russian poet Osip Mandelstam and the American singer Miranda Lambert, here is a poet in search of points of reference, the 'bright fresh leaves' of sunlight among the ruins.

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  (Un)Tethered - A Collection of...

  S.V. Segal

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  You bit me,And when you lost your tooth,You blamed me.I guess self-awarenessIs for people with caninesInstead of fangs.S. V. Segal’s debut poetry compilation, (Un)Tethered, pulls us into moments of conflict—both internal and external—and self-reflection as it explores universal themes of love, loss, death, growth, fear, and self-realization. But despite the timelessness of these themes, the poems are also distinctively Segal’s, conveying their unique experiences, depth of feeling, and struggles with identity and relationships. A striking collection that will embed in your memory.

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  Much Ado About Nothing

  William Shakespeare

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  Much Ado About Nothing appears to have been written around 1599, shortly before As You Like It and Twelfth Night. The action combines two narrative threads: the spirited comedy of the courtship of Benedick and Beatrice, and the sombre tale of confused love between Hero and Claudio. The first is a creation by Shakespeare and the second appears to have been drawn from an Italian source, either by Bandello or Ariosto. 
  The action takes place in Messina. Eponymous lovers Hero and Claudio seem to be ideally matched and nearly everyone is looking forward to their impending marriage. The odd man out is the sinister Don John, brother and former enemy of Don Pedro, Prince of Aragon, but recently restored to the Prince’s favour. Being of a morose and jealous temperament, Don John plots to disrupt the wedding and cause division between the lovers, with the aid of his fellow conspirators, Borachio and Conrade. However, this evil plan is thwarted by an unexpected incursion by the bumbling constables Dogberry and Verges. The young couple are finally reunited, but only after Claudio has first been led to believe that his rejected spouse, Hero, has died of shame and grief.  
  The matching of Beatrice and Benedick, encouraged by some artful chicanery by Hero and Claudio, and marked by many witty and sardonic exchanges of repartee, serves to lighten the texture of the darker elements of the action. 
  Featuring Emma Faye as Hero, Kendra Murray as Beatrice, Dara Brown as Claudio, Lillian Rachel as Benedick, Cate Barratt as Dogberry, and Gary Macfadden as Don John. Also featuring the voices of Catherine Bilson, Ron Altman, Alan Weyman, P J Morgan, Claudio Anglade, John Burlinson and Linda Barrans. 
  Songs arranged by Alan Weyman 
  Audio edited by Denis Daly 
  Text kindly provided by playshakespeare.com

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  Oh! Can You Leave Your Native Land?

  Susanna Moodie

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  Librivox volunteers bring you ten recordings of Oh! Can You Leave Your Native Land? by Susanna Moodie. This was the weekly poem for the week of November 16, 2014. Summary by Rachel

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  Oh! Had We Some Bright Little...

  Thomas More

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  Thomas Moore was an Irish poet, singer, songwriter, and entertainer, now best remembered for the lyrics of "The Minstrel Boy" and "The Last Rose of Summer".Moore is often considered Ireland's National Bard and is to Ireland what Robert Burns is to Scotland.  - Summary by Wikipedia

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  Unmothered

  A J Akoto

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  A Debut collection from Black British poet A J Akoto. When is a mother a myth, and when is she a monster?
  In an intimate and unflinching collection, A J Akoto tracks the complex bind of mother-daughter relationships. Through separation and attempts to mend, longing, and the fluidity of myth/story-telling in defining histories and identities, she collapses the elision between womanhood and motherhood/daughterhood, bringing to the forefront that which usually remains unspoken.

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