Angol
At the heart of Maurice Riordan's third collection is a sequence of eighteen dramatic idylls set in rural Cork in the 1950s, in which the subdued microcosm of farm and smallholding - of boundary, townland and parish - is defined through the individual voices of the poet's father and assorted friends, farmhands and neighbours. The settings of these loosely contiguous fragments almost casually define a historical community, ranging around farm and fields, through furze and ragwort, headland and plantation, haggard and Bog - tracing the immemorial scenes of traditional farming life. The tentative oral fluidity of these remarkable poems flickers on the borderline of prose, resolving complexities into an impression of timeless pastoral life, at once archaic yet precisely pitched in time. Other poems in "The Holy Land" proffer alternative forms of capture and recapture, and resemble light-sensitive plates storing and restoring what one poem refers to as 'the understory'.
