Into the epic sweep of Lars Amund Vaage’s long poem The Red Place come many presences in many dimensions: the living, the dead and – part-mythic, part-realist, part-surreal – the ghosts of earlier selves. Mother progresses through a series of ‘red places’ until she reaches somewhere ‘Her feet would go no further.’ Father ‘stands by me / outside of me / whistling notes / that don’t exist.’ We see the poet at the piano as a child and as an adult, and the joys and poignancy of music sound powerfully throughout. Moving tenderly between farmland and the city, great concert halls and a family going out in the evening on the tractor to find music, Vaage’s poetry is rich, simple, complex, and wise.

“… a thoughtful collection of poems whose many qualities emerge in a quiet voice …he writes the past into the present and makes the borders between past and present, the dead and the living porous … At the same time there is an acceptance of the passage of time and the need to forget … a profoundly serious reflection on memory, time and death.” (Marit Grøtta, NRK—Norwegian Broadcasting Corporation)

“The poet takes us on a journey inwards and backwards in time … the insistence on wholeness, rather than the feeling of separation and rupture so often found in modernism, means that we come to read the poems about remembering not only in terms of painful loss, but as an inscription of the past into the present. … Read ‘There is a young man inside me’, ‘How was it with father and the horse’ and ‘Father created the landscape’. These three poems will most likely go straight into the anthologies.” (Henning Howlid Wærp, Aftenposten)

“Vaage … is probably better known as a fine writer of novels, but is perhaps at his best as a poet – as here. The distinction is not so great, for Vaage is also a poet when he writes prose. The themes are the passing of time, parents who age and die, love that grows into something more ordinary, and youth which disappears – but can be rediscovered … These are, in part, sublime sequences – coming together to make up one great poem – about the existential conditions of our lives.” (Eirik Lodén, Stavanger Aftenblad)

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Poet and novelist Lars Amund Vaage was born in 1952, grew up on a farm in western Norway and trained as a classical pianist. His fiction includes the award-winning novel Syngja (Sing, 2012) about a writer father and his autistic speechless daughter, the short-story collection Den vesle pianisten (The little pianist, 2017), and Det uferdige huset (The unfinished house, 2020). Among other awards he has won the Gyldendal Prize, the Nynorsk Literature Prize and the Dobloug Prize for his life's work. The Red Place is Vaage's third poetry collection from Shearsman.

Anna Reckin made a career in publishing in England before going to graduate school in the US, where she took an MFA in Creative Writing at the University of Minnesota and then a PhD in the Poetics Programme at SUNY Buffalo. She now lives in Norwich, where she works part-time as a creative-writing teacher and freelance editor. She has published two collections of her poetry with Shearsman.

Hanne Bramness is a Norwegian poet, editor, translator, and novelist. Born in 1959, she published her first Norwegian collection Korrespondanse in 1983 and has followed this with seven other collections, two of them-Kysset and Trollmåne-for children. In 2007 Shearsman published a selection of her poems in English, Salt on the eye (translated by Frances Presley and the author) and in 2008 her selected poems appeared in Norwegian, Det står ulver i din drøm (Wolves are standing in your dream). In 2003 she published the novel Lynettes reise (Lynette's journey; a novel partially based on the Welsh-Argentinian poet Lynette Roberts' early life.) Shearsman has since published two further collections of her work, No film from the camera and The Weight of Light, and another volume is in development. Her many translations include works by Mina Loy, Kamala Das, Denise Levertov, Selima Hill and William Blake. Hanne Bramness won the the Norwegian Poetry Club Prize in 1996 and the prestigious Dobloug Prize from the Swedish Acadamy in 2006.

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