Paperback, 96pp, 8.5x5.5ins
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Two poem-sequences — Pigeons , and Pussy. A short poem on every page, 3 or 4 lines. The sequences presented on facing pages, emphasising the fact that the title word could be substituted by the other if one wished. At various times, hilarious, scurrilous, and thought-provoking, this collection is one of the most unusual you will come across.

"These poems move forward with their own innate syntax, detailing the enigma of the single phrase in its own space, sometimes a neo-cubist still life of words. Looking again at the over-familiar in another arrangement, where one name might even be substituted for another, [pu**y for pigeon], for instance, amongst a semblance of quotation from others. The work coheres as a particular laconic sensibility; the reflex of dead-pan." —Simon Cutts

"A stereoscopic experience — The left eye takes in the absurdity of an incommensurable inter-special relationship, while the right eye is trained obsessively on a pornographic image, both mythic and mundane, of the origin of life and desire. The result is 'an incomprehensible exchange between two images.' Wittgenstein's language games confront Courbet's Origin of the World only to find it a superficial likeness, while pigeons turn out to be the inexpressible showing itself. Perhaps, if it weren't for Bill Minor, in some important way, we would have neither Pigeons nor Pussy. This book demonstrates, in deep hilarity, that one cannot exist without the other."—Matvei Yankelevich

"In a brilliant reduction, these minimalist bon mots are a palate cleansing amuse-bouche, demonstrating that seriousness of intent need not only result in ponderous poetry. The atmosphere here is both familiar and playful, a playground for the mind, ordinary but refreshed. Nothing here is quite what it seems — it's all clear and complex, entangled with anticipation but also unexpected. Everyday speech is at once elevated and undermined. Far from unbearable, here the lightness of being lets words and things flutter free from the cages of sense and syntax, delivering smiles. As vehicles of meditation these poems read like zen koans written by Groucho Marx. Rarely has epistemological uncertainty been this much fun." —Stuart Kendall

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