Vision on Platform 2

Vision on Platform 2

By Nancy Mattson

Price: £10.00

ISBN: 978-1-912524-13-6

82 pages, paperback, 135x210mm

In Vision on Platform 2, Nancy Mattson reflects on what has shaped her as a woman and poet—a Canadian childhood, life and love in contemporary England, art, nature, family, faith. The stories she tells—real and imagined—involve many contrasting times and places, and question how memories can be retrieved. Her voice is sensual, wise and honest in exploring mother-daughter relationships and female friendships, yet she often adopts other voices—male soldiers, Finnish hunters, a medieval Flemish painter, habitués of a St Petersburg bar, a bride escaping fascist Italy with her husband. Unafraid of paradox or pain, open to strangers and surprises, Mattson celebrates moments of grace in unlikely places: a local street, a harbour, a railway platform.

Nancy Mattson moved from the Canadian prairies to London in 1990. Her previous three collections are Finns and Amazons (Arrowhead 2012), which begins with poems about early 20th century Russian women artists but moves to a search for her Finnish great-aunt who disappeared in Stalinist Russia; Writing with Mercury (Flambard 2006); and Maria Breaks Her Silence (Coteau 1989), shortlisted for Canada’s Gerald Lampert Award. She co-organises Poetry in the Crypt in Islington, north London.

‘One mind having seen both the art of those Amazons & the letters of that Finn, will, must, bring them into explosively bright contact across both space & time. Finns and Amazons is not a book you can just dip into for a poem or two; it’s a carefully assembled construct designed to bring into the light the lives of some powerful women, whose lives & work meant & still mean.’ – Douglas Barbour, Eclectic Ruckus

‘Far from relying on documentary context, the poems [in Finns and Amazons] combine contemporary diction with historical and psychological detail.… Mattson has produced poems of great skill and power that cross and recross emotional as well as geographical and cultural borders.’ – Clare Best, Frogmore Papers