Publication Date: 
Thursday, April 8, 2021
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Many though not all of the poems in Christopher Meredith’s collection, Still, explore the web of meanings in the word ‘still’. They meditate on the paradoxes of stillness and motion, on the capacity of memory and imagination to hold life apparently still and the struggle in art to achieve the power implicit in that to connect with the things of the world in a contemplative intensity.

The distillation of a recurring memory of an old man in the title poem becomes simultaneously an intensification of reality and a denaturing of it. Horseshoe crabs on a nesting beach in New England have reached their biological niche, at an evolutionary standstill for millions of years, but live in blind struggle. A Victorian engraver loses his mind attempting to fix his changing native Cornwall forever in his illustrations. In ‘Standing room’, in entering the still room, the stanza, of a poem, we enter a fixity in which we ourselves, as authors or readers, become transient onlookers. Breughel’s winter paintings invite us both to enter a timelessly frozen world  and to understand its liquidity which we both observe and are part of.

In the closing sequence, ‘Still air’, which grew from a collaboration with visual artist Sara Philpott and which focuses tightly on a small landscape in the Usk Valley, the multiple, complex, endlessly moving parts of nature in the stars, geology, the seasons, days, moments, are overlaid and integrated with a clarity of vision that may be achieved in moments of perhaps illusory but necessary stillness in a way that’s ultimately affirmative. Such moments of apparent stillness in these and others of the poems became apertures through which to apprehend the contrasted dynamisms of the world.

Still builds on Meredith’s previous collection, Air Histories, shifting between the personal and impersonal, developing a characteristically wide range of forms, techniques, settings and moods from quirky to serious, while increasingly an underlying coherence of vision emerges. Many of the poems feature Welsh landscapes and settings, in common with much of the author’s previous work.


“Lyrical, always surprising, Meredith 'fixes stillness' in absences here. His perfect ear tunes in so precisely – especially to the natural world, it's 'edge of sense' – we are left haunted á la Frost, by a deep lonliness in the human condition.” – Paul Henry


Still is published simultaneously with Meredith's new novel Please. Buy them both at the discounted price of £15.00 here


Review by Joshua Rees, Buzz Magazine

Wednesday, May 5, 2021

Still is a superb new collection of poems that again exemplifies his mastery of the written word. The poems dwell on memory and loss, among many other things. But unlike Vernon’s lengthy and digressive diaristic recollections, the writing here is spare and subtle. The unsaid is as important as the said.

These are poems about the ways we occupy the world, or as Meredith puts it, “the shape we make in time”.  Despite some moments of introspection, these are poems that dare to comprehend the sheer vastness of the world. They also consider how we can achieve permanence in spite of our impermanence. One of the strongest poems, On Allt Yr Esgair, suggests that art may be the answer: “Under the serpent galaxy / the motifs of stone hills recur / in scoops and curls across the sky… What else is left for us but this? / With pen and brush to shape our track / like moths and hills and streams and stars / a human shadow on the rock”.

Still is a quiet, contemplative book which offers no certainties aside from the fact that Meredith’s words deserve to outlive his time.

Review by Sheenagh Pugh, Live Journal

Thursday, April 1, 2021

Sound of leaves not falling

The title of one of the poems here, it could well also stand as an epigraph, for there is a lot of space, absence, not-happening, right from the beginning of this collection:

When you step in to the empty room
you interrupt whatever it was
that the room wasn’t doing (“Standing place”)

These first few poems are also much concerned with memory, its unreliability, the way it fictionalises and casts doubt on reality.

No no, they say. You never saw him.
He couldn’t stand, and you were far too young.
But you did. He could. (“Still”)

Solid furniture is “ruffled”; a sofa stares at “where you seem to be”. But amongst this doubt, insubstantiality and shifting, another possible epigraph, from “In this stilled air the turning trees”, would be “the shape we make in time”.  Mr Meredith has been a remarkably busy bee of late, bringing out both a novel and a poetry collection in the same month, and it is natural to look for correspondences between them. The novel, Please, reviewed here, is much concerned with the shape we make in time, its impermanence and how it may be differently seen, not only by different people but by the same person at different stages of life. These concerns also haunt this collection; it often seems to be trying to establish what locus exactly humans can claim in “their” landscape, “the standing place/where you can’t stay”.

It is a collection very aware of landscape, as this poet has always been, but while sharp, observational language like “the inimical gorgeous cold” (“Even in dreamscapes”) could have come from any of his collections, the sense of the vastness of landscape compared to its temporary human inhabitants in “North coast swing” seems new: 

the nuances of grey stretch out immense, unhuman
into the toppled corridor of air
that rifts the sea and cloud.  

Various ways of memorializing the dead – statues, photographs, writing, cherishing mementoes, human memory itself – crop up, and all, in the end, seem inadequate, erased. The narrator of “Upstairs” looks for traces of a dead woman in her former rooms:

Something in us builds imaginary rooms
the walls somehow exhaling truth
a rippled glass reflecting
a familial face.
And on the battlements must be a ghost,
mustn’t there, with a remembered voice  

But in the end:

I could think of nothing
but a steep path down a cliff
all rock and light and moving air
and at its end
the sea.

Dry humour is still, as ever, a feature. In “Village birds”, our jackdaw-narrators assume human civilisation has evolved purely for their benefit: 

We bring meaning
to your heapings of the curious rocks.

Those chimneys are evolved
for purging jackdaws’ ticks.

The privet rooms are meant for us.
We hold our councils on your walls 

But the sardonic humour is darkened by our realisation that this assumption is no more fanciful than our own habit of supposing (like Don Marquis’s toad Warty Bliggens) that the planet we live on was created for our convenience. In one of the last poems, “On Allt yr Esgair”, the human is more or less assimilated into the landscape, with an acceptance that, inadequate as they may be, pen and brush are the only ways we can make our mark on it: 

Under the serpent galaxy
the motifs of stone hills recur
in scoops and curls across the sky
cutting the landscape’s signature. […]  

What else is left for us but this?
With pen and brush to shape our track,
like moths and streams and hills and stars,
a human shadow on the rock.

 Technically very subtle and varied, with an unobtrusive tracery of half-rhyme running through it, this collection has moments where it veers into ballad, legend and folk-tale territory. “The train north”, an account of a journey not taken (how characteristically for this collection) during the poet’s time in Finland, is a stand-out poem for its strangeness and edginess, while “Nightfall” is a very powerful eco-poem that manages to be menacing rather than preachy:

Light cools
on the hill above the villages.
The shadowline
is flowing up the field.
See the wounded
limping from the ridges
with rags tied
round the remnant of a world.
They watch
the houses’ gradual effacement
under the shadow
as each light goes out.
The villagers
are shuttering the casements
and call
for barricades across the street.

It’s interesting that both the novel and this collection have monosyllabic titles. This certainly is not because Meredith’s lifelong fascination with, and delight in, words is diminishing, but there is at times in these poems a sense of spareness, of a view pared down to what matters: the bones of a landscape, the space where a person is, or sometimes is not. 

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