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Reviews "The Roof Milkers", with its broad landscape sweeps, earthy delights, subtle changes of mood from introspection to exultation, has the elements to make a collection. It is a real, honest, well-crafted, beautiful collection. And to quote from the book itself, it is "a companionship that revives me".
Bush Journal, entry 49′by Annamaria Weldon describes the startling immediacy of landscape, its sudden events and movements ‘ as it ‘rains down shards of Splendid Fairy Wrens’ ‘ in clear, succinct language. In “Splendid Blue Wren”, Annamaria Weldon takes us to Malta, where a woman awaits the death of her mother. Seated by her mother’s bedside, Celeste – a name the woman has chosen for herself (“I named myself for the sky and sea, a blue so deep that some days I could fall into it and disappear”), remembers how her mother gave her an insight into the power language has to translate reality and create meaning and order:
There is a beauty and delicateness to Celeste ’s experience of grief at the passing of her mother as it reveals to her a depth of meaning behind the semantic – “that there is only being.”
Fenton-Keane quotes Annamaria’s poem ‘Absolution’ published in Stylus (ISSN 1447-1779) as example of classic and metaphorical symbols of alienation which are not negative (‘flowers calm twin’)
Shane McCauley reviewed"The Roof Milkers" in Indigo Vol 3, Summer 2009: Weldon’s poetry is characterised by an elegance of style, a restraint, and the gift of wonderfully apt imagery that translates perceptive observation into the fabric of poetry. It is a cliché of poetry criticism to speak of the difficulty of excerpting ‘bits’ to display the qualities of the whole. That is especially true of this volume, in which form, the measured step from beginning to end, is as much part of the poetry as any dissected image or indeed a piece of music.
Her themes revolve around time, love, distance, change, loss, a sense of place, beginning anew, the ambiguities even in the seemingly closest of relationships. Heart and mind meet here in the mix of music and imagination that constitutes the truest brand of poetry. The Roof Milkers deserves the widest possible readership.” Shane McCauley won the 2008 Max Harris Prize for Poetry. He is the author of six poetry books. His most recent collection is The Drunken Elk (Sunline Press 2010).
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