I am instantly drawn to poems that open with a conjunction. These seemingly simple words appear in the most crucial moments of speech and communication. The two-letter ‘or’, and the three-letter ‘yet’ can be carefully positioned to energise an abrupt shift in a story, whilst the word ‘so’ commands the reader’s attention, earmarking the arrival of a compelling conclusion.
In ‘Tincture’, Zena Edwards immediately immerses her reader into the hubbub of daily life on the 3-acre site at Wolves Lane beginning with the most overlooked conjunction of all: ‘and’. The momentum that this carefully placed ...
There are approximately 987 more words in this article.
To read the rest of this article, please buy this issue, or join the Resurgence Trust. As a member you will receive access to the complete archive of magazines from May 1966.
If you are already a member, please Sign in
