That Broke into Shining Crystals
That Broke into Shining Crystals | By Richard Scott
Trauma and vulnerability – violation and its aftershock – are explored within a framework of self-determination and radical queerness in Richard Scott’s second collection. In three distinct yet interlocking parts, he documents what it is to have survived ‘seismic assaults, the buried silences’.
This is first pursued through still-life paintings: controlled arrangements in which time is frozen. In ‘Coy’, the lexicon of Andrew Marvell’s ‘To His Coy Mistress’ is repurposed to enact the collapse of language under the pressure of description. In the luminous title sequence, crystals and gemstones evoke themes of fracture and fixative, demonstrating Scott’s power as a poet who casts an uncompromising but ultimately uplifting light. This book reverberates with risk as it negotiates the darkness of injury, the potency and pain of revelation, and agency as song.
That Broke into Shining Crystals | By Richard Scott
Trauma and vulnerability – violation and its aftershock – are explored within a framework of self-determination and radical queerness in Richard Scott’s second collection. In three distinct yet interlocking parts, he documents what it is to have survived ‘seismic assaults, the buried silences’.
This is first pursued through still-life paintings: controlled arrangements in which time is frozen. In ‘Coy’, the lexicon of Andrew Marvell’s ‘To His Coy Mistress’ is repurposed to enact the collapse of language under the pressure of description. In the luminous title sequence, crystals and gemstones evoke themes of fracture and fixative, demonstrating Scott’s power as a poet who casts an uncompromising but ultimately uplifting light. This book reverberates with risk as it negotiates the darkness of injury, the potency and pain of revelation, and agency as song.
That Broke into Shining Crystals | By Richard Scott
Trauma and vulnerability – violation and its aftershock – are explored within a framework of self-determination and radical queerness in Richard Scott’s second collection. In three distinct yet interlocking parts, he documents what it is to have survived ‘seismic assaults, the buried silences’.
This is first pursued through still-life paintings: controlled arrangements in which time is frozen. In ‘Coy’, the lexicon of Andrew Marvell’s ‘To His Coy Mistress’ is repurposed to enact the collapse of language under the pressure of description. In the luminous title sequence, crystals and gemstones evoke themes of fracture and fixative, demonstrating Scott’s power as a poet who casts an uncompromising but ultimately uplifting light. This book reverberates with risk as it negotiates the darkness of injury, the potency and pain of revelation, and agency as song.
