Carolyn Jess-Cooke’s new poetry collection, We have to Leave the Earth (Seren), is a skillful collection that suggests the reader be present in the moment and vividly experience our world as it is now, both domestic and political. The poems are those moments in dreams where the dreamer becomes lucid and sees things as they really are, like the slap of ice-cold air in the Arctic poems awakens the reader and defines the whole collection.
In this collection Jess-Cooke is intrepid in her descriptions and choices of subjects, like an archivist piecing together fragmented remains to find clarity and understanding.
Jess-Cooke conjures (and there is a sense of enchantment or spellcasting present in the sensual figurative language utilised) precise, evocative imagery to discuss wide-ranging subjects, such as disability, feminism, the environment and motherhood, and creates a sense of travelling through experiences and environments. There is an explorer at work here, one who views the world, in all its vast complexities, as no different to a child needing nurture from its caregivers.
Jess-Cooke opens with an enveloping poem that combines both stillness and movement, about that most intimate of places, the family bed. Filled with folds of fabric, a sleeping child and a, ‘fox-red in the lunar TV light’ snoozing dog, Jess-Cooke layers images as tenderly and quietly as snow falling and builds a drift of thoughts to consider this precise moment that is being observed, now, reflecting on, ‘ how many nows make up a life.’ This philosophical poem is crafted as a stream of thoughts and images, without a solid pause until the end point, an appropriate form to examine life as a series of fluid fragments pinned together, and made sense of, by love. Placing this poem at the beginning of the collection indicates a poet at a point of mastery over their own work, as the thematic work that follows seems askance at first to this domestic setting, being the radiant-white landscapes of the arctic and Viking history, however, as Jess-Cooke moves from the interior space to exterior enormity she retains this sense of closeness, of being tenderly present in the ‘now’ of our current world, a poetic and persistent mindfulness that does not flinch from raw truths.