“Hetherington’s Touch is Light and Deft”- Glenda Guest reviews ‘Burnt Umber’

Burnt Umber by Paul Hetherington. UWA Publishing (2016).

burnt_Umber

Paul Hetherington brings to poetry everything I like about good writing: intelligence, reticence, poise, and the gift of seeing the large in the details of life.

Burnt Umber is a gift to his father, who died last year. The collection is bookended by a dedication to Robert Hetherington, a line by Tom Stoppard from Rosencrantz and Guilderstern are Dead: ‘…deep shining ochres, burnt umber and parchments of baked earth- reflecting on itself and through itself, filtering the light’. The final poem is ‘Painting 22: Portrait of a Count. For my father’.

This is a large and varied collection consisting of eight sections. Even in its apparent disparity the collection moves gracefully from one poem to the next and is held together by the themes of loss and memory. Hetherington’s touch is light- there is no didacticism here- and deft, and the apparently simple language hides a torrent of knowledge of the human condition. ‘This is how it was’ he says, ‘now understand’.

Hetherington writes as someone who knows the country and its moodiness: the way fire is always hovering at the edge of summer, the slow rhythms of a river. There is surrealism in ‘Angels at Nedlands Primary School, 1968’; fire is always somewhere nearby as are letters found, kept or thrown away unread.

Hetherington has a painterly eye that interrogates a number of paintings in the two segments ‘Pictures at an exhibition’ (1 and 2). This also shows in his light touch that sketches in studies of the whole in ‘Rooftop’ (one of my favourite pieces) until the whole story is there in its entirety.

There is much I liked in this collection but I am drawn back to the longish poem, ‘Savasana’. Old places and memory, overlap and interlock for the protagonist and his/her ‘six-months friend’, until the penultimate verse when savasana allows the dropping away of the old and gives room for renewal. Only then, are they able to return to ‘our rented house…our skins no longer holding our bodies in their usual postures’.

Savasana is a yoga pose that usually ends a routine. It seems simple in its execution where the practitioner lies on the floor relaxing after a workout, but the intention is to let go of tension, memories and thoughts and to just be in the present moment. It is a very suitable understanding of Paul Hetherington’s Burnt Umber.

                                                                                                                       -Glenda Guest

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Glenda Guest is the acclaimed author of Siddon Rock which won the Commonwealth Writer’s Prize for Best First Novel and was longlisted for the Miles Franklin Literary Award in 2010. Siddon Rock was originally Glenda Guest’s creative component of her PHD at Griffith University, Gold Coast and later published by Random House.

To purchase Burnt Umber from UWAP: http://uwap.uwa.edu.au/products/burnt-umber

 

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About Zalehah Turner

Zalehah Turner is a Sydney based poet, photographer, cultural journalist, and Associate Editor of Rochford Street Review (RSR). Zalehah regularly contributes articles and interviews on poetry, art, film, and new media for RSR and the UTS magazine, Vertigo. Zalehah’s poetry was projected onto the Federation Square Wall in Melbourne as part of the Overload Poetry Festivals, 2008 and 2009; exhibited at Mark and Remark ,107 Projects, Redfern in 2013; and displayed in Alice Springs and Moruya thanks to Australian Poetry Café poets, Laurie May and Janette Dadd respectively. Her poems have been published in Writing Laboratory (2013), Sotto (2013), Social Alternatives (2016), Vertigo (2016, 2017), UTS’s The Empathy Poems Project (2017) and Rochford Street Review (2017). She co-judged the New Shoots Poetry Prizes 2016 alongside, Tamryn Bennett, Artistic Director of The Red Room Company, and published the winning and highly commended poems. Zalehah is currently working on an intermedia poetry collection entitled, 'Critical condition', focused on the interstitial threshold between life and death in medical crises based on personal experience. Zalehah holds a BA in Communication with a major in writing and cultural studies from the University of Technology, Sydney where she continues to pursue pushing the boundaries of multimedia poetry in Honours (Communication- Creative Writing).

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  1. Pingback: Issue 19: July 2016 – September 2016 | Rochford Street Review

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