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Space to Think, a new book celebrating ten years of the Dublin Review of Books More Information 

    Digging Deep

    Amanda Bell
    Robert Macfarlane’s latest exploration of the natural world leaves one with the impression of the world as a hollowed-out vessel, infinitely fragile and perilously finite, a honeycomb packed with toxic waste which will ultimately disintegrate like an aged wasps’ nest.
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    Navigating loss

    Amanda Bell
    Mary Noonan’s descriptive powers recall, in their meticulous detail, Elizabeth Bishop. She is a poet of the senses – this collection is drenched in colour, from the blue of her father’s eyes to the dreamy greens of the swamps, but of all the senses, sound is perhaps the most prominent.
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    Attentive Living

    Amanda Bell
    To pay attention to one thing is to resist paying attention to other things; it means constantly denying and thwarting provocations outside the sphere of one’s attention in order to be able to concentrate on what is essential.
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    Love Your Hair

    Amanda Bell
    Hair – rather than skin colour –can be seen as the principal signifier of race and has the power to confer classification as black or not. The story of how ‘treatments’ for taming black hair were developed by black entrepreneurs is a depressingly familiar capitalist narrative.
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    Fernweh, Sehnsucht, Brame

    Amanda Bell
    Solitary travelling in remote places can be dangerous, particularly for a woman. But what is the alternative? Stay at home and never go anywhere? ‘It’s that thought,’ writes journalist and traveller Rosita Boland, 'the one of involuntary stasis, that has always filled me with genuine fear.’
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    Deadly Precision

    Amanda Bell
    A particular feature of Rita Ann Higgins’s new collection is the use of juxtaposition: essays appear side-by-side with poems tackling their subject from a different angle. It is fascinating to see this process, with the background which informs a poem laid out in prose form.
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    Affinity with Far Away

    Amanda Bell
    A bilingual collection of Nuala Ní Dhomhnaill’s poems contains some new poems and many previously published. The decision to use new versions, suggesting that there is no definitive way of translating a poem, will no doubt give food for thought to students of translation studies.
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