These arenвЂ™t difficult poems, but that doesnвЂ™t mean they are trivial. Well, the poems are still here and IвЂ™d happily recommend EdgarвЂ™s collection as the perfect one to dip into whenever you want a respite from вЂњnoise and newsвЂќ. Nearly halfway through the collection is a poem that starts: These poems made me smile, even where they spoke of loss, because they are honest. These poems speak of a long and deep love, but one also peppered, as real love is, with differences and squabbles. My favourite poems, though, are those scattered throughout that chronicle her relationship, at least they feel autobiographical, with her husband/lover/partner/significant other. The poems are unmistakeably Australian with their references to the bush and of course gums, to wattlebirds and magpies, to drought and the pleasures of rain that only dry places know. Other poems speak of chairs that know our lives (вЂњThe Life of ChairsвЂќ), roll-top desks that trace a familyвЂ™s history (вЂњA Family ServantвЂќ), and of course the gardens that provide вЂњrefuge from summerвЂ™s sultry hoursвЂќ (вЂњTwo GardensвЂќ). The doggerel-like rhyme and rhythm here are perfect for what Edgar clearly sees as the womanвЂ™s silly decision. вЂ“ losing, in the process, вЂњher ghosts/ghosts of her childrenвЂ™s criesвЂќ. ThereвЂ™s the woman, for example, who upsizes вЂ“ She invests the places and objects of our lives with meaning. The imagery is generally accessible вЂ“ at least it is to those of us who have lived (are living) similar lives in similar places. There are story poems and there are ones IвЂ™d describe as reflections. There are three-line poems, a four-page poem, and even a bunch of sonnets. There are poems that rhyme and poems that donвЂ™t. There are wry poems, and downright funny ones, and there are the passionate, the sorrowing, and the resigned ones. I particularly like the way Edgar varies her tone throughout the collection.

ItвЂ™s a cheeky poem that contains both a sense of excitement and uncertainty, setting just the right tone for the rest of the collection:Д«ut laughing in the square, sheвЂ™d seemed less grand. She imagines the groom waiting at the other end of the procession, reflecting. The collectionвЂ™s first poem is вЂ“ as you might expect вЂ“ titled вЂњвЂCorteo dвЂ™amoreвЂ™ (Love procession)вЂќ and is EdgarвЂ™s response to the painting. I could mention for example a poem about clutter, which conveys the melancholy of time passing: The subject matter reflects the poetвЂ™s stage of life, someone whoвЂ™s lived more than a few decades, whoвЂ™s travelled, worked, lost friends and family, managed homes, experienced passion and peace. About the procession of our lives вЂ“ about love, life and death, about work and the things that keep us going, about friends and family, about nature that travels with us. ItвЂ™s a good title because the collection is about love вЂ“ romantic and other вЂ“ and about procession. Apparently it took many months for Edgar and the publishers to negotiate the rights to use the painting, but it was worth it because the end result is a simple, yet rich and stylish cover.

The painting, вЂњLove processionвЂќ, is attributed to Marco del Buono and Giovanni di Apollonio, from the 1440s. As Edgar explained at the launch, the title comes from a painting she loved in the Renaissance Exhibition held at the National Gallery of Australia a year ago. Poetry and gardens вЂ“ a match made in heaven donвЂ™t you think?ДЄnd in fact, there are gardens in this collection of poems, but before I write about the poems, IвЂ™d like to mention the title and cover. It was an oasis not only because the launch was for a book of poetry, but also because it took place in the peace of a garden. Amongst the madness of last yearвЂ™s silly season was a little oasis, namely the launch of local poet Suzanne EdgarвЂs latest collection, The love procession.

Whisperings of love painting