Here's a review of Don Paterson's Selected Poems written by Ben Wilkinson for The Guardian.

A taste:

Sean O'Brien has written that "few poets can have covered as much ground in 20 years as Don Paterson". Reading this remarkable Selected Poems, which ranges from the ludic depths of Nil Nil to the plainer cadences and frankness of 2009's Rain, one is inclined to agree. Yet, coupled with "Nil Nil", Rain's title poem brings us full circle, as another double negative surfaces between release and restraint: "and none of this, none of this matters". Alongside the poetry's stylistic variety and growing tonal authority, what Paterson's selection from his six volumes to date reveals is the underlying thematic consistency of his oeuvre.

The poems are often full of seeming paradox and contradiction, a feature which can wrong-foot just as it provokes and delights. "I took myself on for the hell of it," says the poet of playing pool against his double in Nil Nil's "The Ferryman's Arms", a sense of poetry's artifice jostling with the conviction that a poem should enact some seriously complex thinking. The persona is swaggering yet (literally) divided; the planetary order of balls on the pool table is undermined as "physics itself becomes something negotiable"; the false doppelgänger ends up seeming truer than the departing speaker; strangeness swells up everywhere through initially grounded reality. Nothing is ever quite as it seems. Just as the speaker's lover in "The Trans-Siberian Express" is seen "shedding veil after veil", these poems seek truths beyond the waking dream-world through which we blunder. The darkness comes to envelop Nil Nil. A handful of poems explore social class, not least the punchy "An Elliptical Stylus", but these also tend towards eerie territory, or else unpick the constructed nature of the self.

More after the jump.

Originally Published: May 22nd, 2012
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