Trees become myriad versions (instalments) of themselves without verging onto an unsensing multiplicity as they traverse partially resistant or patient terrains: so these poems explore contrasting tree-states, as sticks or joints, filters of directional light or self-submerged hedges, which are all manners of contraction, extension, mediation, shareable expression.

“Larkin’s ‘theological poetics’ assumes a world in which we could be said to be ‘short of nothing’, however ‘scarcely’ this is apprehended.” —Simon Collings

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