review

13 August 2023

Opening Up The Intimate: Laurie Donaldson reviews ‘Latch’ by Rebecca Goss
9 August 2023

TALES FOR A DECELERATED CULTURE: Ricky Monahan Brown reviews An Aura of Plasma Around the Sun by Maria Sledmere
6 August 2023

NOT GIVEN, BUT GIFTED: Lindsay Johnstone reviews The Cat Prince by Michael Pedersen
2 August 2023

THE DREAM SAID ‘NO’: Mandy Haggith reviews Ancient Light by Robin Fulton Macpherson
27 July 2023

A GHOST CORONA OF PETALS: Ash Caton reviews Carnation Lily Lily Rose by Jane McKie
21 July 2023

HUMAN CONNECTIONS IN EXTRAORDINARY CIRCUMSTANCES: New Writing On Translation By Cat Venner & Heidi Gilhooly
19 July 2023

EVER AND ALWAYS, FROM THE GROUND UP: Elizabeth Rimmer reviews Jim Carruth’s ‘Auchensale Trilogy’
8 July 2023

“A flatterer, a eulogiser and scatological heckler of the high and mighty” – Robert Burns and Scottish Cultural Politics: The Bard of Contention (1914-2014) by Paul Malgrati
4 July 2017

“WE”: BRIT BENNETT’S ‘THE MOTHERS’
18 June 2017

PRESENT MORTALITY: RYAN VAN WINKLE’S ‘THE GOOD DARK’
19 November 2014

THY NEIGHBOUR’S PIANO: DESIRE AND POWER IN KATHARINE GRANT’S SEDITION