I’m delighted to announce the publication of my first poetry collection, Drawing a Diagram, from Kelsay Books.
It’s available on Amazon in the UK for £11.48 and on Amazon in the US for $14.00. I’ll be selling copies myself shortly, when they arrive from the US, and will also be organising a launch in Sheffield.
I’ll post some extracts and readings from the book shortly, but here are the very kind and generous comments made by three poets I greatly admire. I’m very grateful to them for agreeing to read the draft publication and let me have their thoughts.
“Rosemary Badcoe’s first collection is about time, in both senses. It is overdue and testament to a subtle poetic intelligence deserving of a wider audience. It is also about how we quantify the revolutions of light and space, and those isolated moments when scientific enquiry and individual experience interact. For all the coolness of Badcoe’s work, its poise and measure, there is huge intensity beneath its surface, and sly humour, and much beauty.”
– Conor O’Callaghan, author of four collections of poetry published by Gallery Press in Ireland and Wake Forest University Press in the US, including Fiction and The Sun King.
“On reading Rosemary Badcoe’s Drawing a Diagram I am reminded very much of the poetry I meant to write, but was rarely able to. I am also convinced that hers is an intellect worth getting to know. To be more specific, I find in her poetry, more often than not, the same juxtaposition of the intimate and the infinite that I find in that of Stephen Edgar, which comparison, I hope, speaks for itself. This is poetry which is considered, without being overcooked, and language which is precise, without being precious. Overall, Drawing a Diagram is an extraordinarily mature body of work for a first collection. I am particularly pleased that we have been able to publish some of her work in Angle, and look forward very much to being able to again in future.”
– Philip Quinlan, poet, Co-editor, Angle Journal of Poetry in English
“Here is a strong, substantial, even at times startling, first collection. It’s full of intellectual and emotional stimulation, the cerebral and the intimate sparking off each other as the many different discourses do. Badcoe ranges over time and space, science and art, the personal and the global. She surprises us with imaginative revelations, but never dictates our responses to them. The poems and the images are very much open to interpretation, always a strength in poetry. We can see her as a descendant of the Metaphysical poets, offering us poems that make us think and feel, appreciating both the wit and seriousness of this work. However, this poet clearly lives in and speaks from our own world with all its confusions, from how to cope with romance to global disasters. All these materials are woven throughout the collection but perhaps the most important question that arises from this work for me is that of perception. How do our minds work? Badcoe asks this brilliantly but we must answer – “cast off”!”
– Harriet Tarlo, whose publications include Field and Poetry 2004-2014, Shearsman Books, and behind land: poems and paintings, with Judith Tucker, Wild Pansy Press. She is editor of The Ground Aslant: An Anthology of Radical Landscape Poetry, Shearsman Books.
I’d also like to record my thanks to Karen at Kelsay Books for her care and attention.