Lucy Newlyn was surprised and impressed by the variety and quality of the responses to her exercise on ‘inscape’ poetry. “I came to the exercise with a strong preconception about the ‘best’ kind of inscape poetry, and was expecting lyric poems focusing closely on visual and acoustic impressions, without any surrounding context or narrative. (I admire the steady, eye-on-the object-animal poetry of Lawrence and Hughes). I was therefore intrigued by the number of poems that tell or suggest a story.”
How to photograph the heart by Christine Klocek-Lim
You remember how the lens squeezed
unimportant details into stillness:
the essential trail of rain down glass,
the plummet of autumn-dead leaves,
your grandfather’s last blink when
the breath moved on.
Your startled hands compressed
the shutter when you realized: this is it,
this is the last movement he will take
away from the silent fall of morphine,
beyond the soft gasp of the nurse,
past the sick, slow thud of your heart
moving in the luminous silence.