Dorothy Porter

Dorothy Porter’s verse novels are delicious and distancing, formal, fiery and frenetic. With the possible exception of What a Piece of Work (1999), they get better and better. Early on, El Dorado smacks you in the face and strokes your imagination with a ‘little girl’s / dead hand / … sticking stiffly / up / as if reaching / to grab an angel’s / foot’. Framed by epigraphs from Gilgamesh, Peter Pan and Wallace Stevens, an enigmatic gesture of thanks ‘for the magic snakes’, a stanza from Yeats’s ‘The Stolen Child’ and a prologue invoking the ‘thick alien ice’ of Europa, Porter’s latest verse novel is contextualised with multiple, allusive legendry. This is a work that invokes and reimagines, iconoclastically, various fantasies (Atlantis, Neverland, El Dorado), mythologies (Greek, Roman, Christian) and pop-ular culture fantasists such as Disney, the Beatles, the Flintstones, and literary allusions to Shakespeare, Keats, Donne, Dickinson, Stevenson, Doyle, Carroll, Twain. El Dorado is as much about how fantasy works as it is a fantastic detective narrative.

Dorothy Porter’s new verse novel, Wild Surmise, takes an almost classic form. The verse novel is now well-established as a modern genre, and Porter has stamped a distinctive signature and voice on the verse form, particularly with the phenomenal success of her racy, action-packed detective novel, The Monkey’s Mask (1994) ...

Without the slightest hint of irony, Jewel Kilcher, the young Alaskan poet and singer whose first volume of free verse, A Night without Armor, was published to popular acclaim a year or two ago, quotes Dylan Thomas in her preface: ‘A good poem is a contribution to reality.’ Thomas, thankfully, was right, and although we might argue, as poets often do, about the shape reality might take, it remains true to this day that good poetry contributes more to what we know, as individuals and as communities, and helps provide the ground for knowing what our realities can become.