Ian McBryde: Domain. Five Islands Press, Wollongong 2004. They have never slept. It now takes Only a snap of branch or the sudden Silence of birds to have all of them, On both sides of the line firing wildly, Repeatedly, at nothing, into the mist. (from In the Hurtgen Forest, 1944) In the author’s note that prefaces Domain, Ian McBryde’s latest collection of poems – he finds it important to note the research that went into creating this publication. This is blisteringly apparent, as he transports the reader into the Second World War with a collection of poems that has the pictorial and emotive power of cinema. Domain is the poetic equivalent of Polanski’s 2002 film The Pianist. The poet draws on images of war, slaughtered innocents, and the randomness of life and death in such a time, and juxtaposes this against the relative comfort of the powerful and wealthy, and the beauty of the natural world. The result is a solid, emotive, and satisfying poetic journey into a subject that can perhaps not have enough attention. “Seconds of waiting down there in the darkness/For pressure to finally lose its temper.” He also ensures that the human element of the war is not forgotten, that is – that the (particularly German) soldiers and civilians caught in a political and power struggle larger than themselves are not demonized, but represented as the puppets and tools for which that are. Through the prefaces to poems like Lastwagen “Never shall I forget those flames which destroyed my faith forever”                     Elie Wiesel McBryde poses the (somewhat obvious) question of – how could a merciful God have allowed these atrocities occur to the faithful and innocent? The impression left is one of God as an ambivalent parent allowing human kind on mass to finish their squabbles, and learn lessons to take forward into unwritten history. Domain, then, is part of our cultural reminiscence and reflection on the lessons taught to us during times of war. “I drink to God…who didn’t save us, or try”                     Anna Akhmatova No one is sleeping. All blinds Are drawn against the la Pronouncement, this edict of Night fog. Prayer-clasped Hands wrenched apart, manacled. The unmistakable noise families Make as they are torn from each Other. The Trucks, the broken Hope. Clothing for two days, one Suitcase, no personal possessions. Pets left behind. The waiting Trains, the sleek black uniforms Glistening beneath arc lights. Whistles. Destination Poland And the unknown Generation ash. In Europe, no one is sleeping. (Nacht und Nebel) McBryde has a thorough control of poetic form. His use of pentameter and ability to work in tightly structured forms, while maintaining a fluidity of expression is a consistent quality of his work. The portraits he paints are real and alive. This at times, however, flows in a looseness – where he seems to have organized prose like compositions into a defined syllabic structure, relying on his practiced rhythm to (only slightly) remove the poetry from the area of standard prose. From its stunning beginning, with individual and unexpected caricatures that immediately set the tone and mental mise on scene for Domain – Ian McBryde’s images begin to become isolated, so that even in the context of the work’s totality, the characters seem lonely, not for company or friendship – but for the sensation that anyone else is suffering alongside them. This is an interesting effect – as pain is one of the loneliest emotions, however it also ensures that the individual pictures in this poetic montage lack connection. Perhaps it is a more obvious narrative that is missing, or a refined focus on exactly what the poetic outcomes were meant to be. Too many singular subjects – that eased the collection into its theme well – when continued, serve to further alienate the conceits of the collection, thereby drawing the poetry of its earlier strength. All in all, a classy and satisfying performance, even on a well tried subject, that when read aloud shows the full force of McBryde’s poetry. Ian is also the author of a number of other poetry collections and Chapbooks. For further information check this website – www.thestillcompany.com

Reviewed by Arne Sjostedt, 29 July 2004