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Claire Dyer is a published, prize-winning poet. She is Chairperson of Reading Writers and gives solo and group poetry readings around the UK. She lives outside Reading.
What happens if you fall in love with the wrong person? Rose knows only too well the exhilaration and devastation of loving a married man. So she watches with a keen eye as Eve - her closest companion, the granddaughter she never had - meets Myles, the new tenant in her downstairs flat. Quietly and softly and against the backdrop of their own unsatisfactory marriages, Myles and Eve fall in love and, as they try to have the perfect affair like Rose did before them, they come to learn about the pain of lost opportunities, to decide whether it is ever better to follow your head or your heart, to know what it is to be torn between love and duty.
Paddington station, nine a.m., rush hour. As the crowds ebb and flow, time suddenly stands still for two people: Fern and Elliott, ex-lovers who parted twenty-five years before and never expected to see each other again. But here they are, face to face, and the connection is as powerful as it was the day they first met. Their lives have moved on - to marriage, children and divorce - yet neither has stopped regretting the day that drove them apart. Fern gives Elliott her number and they tentatively arrange to meet again that evening when both will be travelling back through the station. And, as the day ticks on, and the memories resurface, both Fern and Elliott reflect on the past. As their emotions go round in circles, so does the Paddington clock, counting down the minutes to eight p.m. - and the moment the future is in their hands.
Any one of them could have murdered her... but who did? On the night Odie May and her married lover are due to celebrate him leaving his wife, Odie goes out to buy a bottle of his favourite wine and, on her way home, is murdered by a woman in a lime green coat. The next thing Odie knows is that she's in a waiting room and there's a man called Carl Draper saying he's her Initial Contact. He is carrying a clipboard and invites her into an interview room. Over the course of her interview, Carl and Odie track back to the significant others in her life to date to try and work out where she's gone wrong, who might have killed her, and why. In the meantime, Carl also shows Odie what's happening in the life she's left behind as her mother and her lover, Michael, learn of her death and manage the tricky days that follow it. But nothing is as simple as it seems. Although Carl has it in his power to return Odie to the moment before she was killed, this comes at a price she may not be able to pay.
Three definitions of the word Yield give meaning to the odyssey undergone in Claire Dyer's third collection: a journey which sees a son become a daughter, and a mother a poet for both of them. Charting these transitions, the poems take us through territories known and familiar - landscapes of childhood, family and home - into further regions where inner lives alter, outer ones are reimagined. Whether evoking clinic visits, throwing away old boyhood clothes, grieving over what's lost, these honest and unashamed poems build to celebrate that place at the heart of motherhood where gender is no differentiator and love the gain. 'The actual things of the world are everywhere in Claire Dyer's Yield - thick socks, Glenfiddich, bathrobes, Swarfega, Swedish Meatball Wraps - and in the spaces between move families, friends, lovers, their interrelations astutely picked out as the unsaid is made solid. But such rooted settings don't prevent flight. Any poet who can end a poem with the lines the bones in its spine small white discs of or Fuck the gob-lin. Rock it has earned the right to our attention.' ~ Matthew Caley 'There is so much that is uncompromising in Claire Dyer's poems: the cruel precision of each word, line and image, and the sharply perfect intelligence of every metaphor and conceit. And yet Yield is a warm embrace of a book. A chronicle of love, generosity and ethics, Yield is a restorative piece of writing - a solace.' ~ Kathryn Maris
Every ending starts with a beginning; every beginning, an end. Boyd and Vita have been separated for six years when Boyd asks if he can move back into the house they still own, bringing with him his twenty-seven-year-old girlfriend, Honey. Of course Vita agrees: enough water has travelled under enough bridges since her marriage to Boyd ended and she is totally over him; nothing can touch her now. Boyd and Honey move in and everyone is happy, or so it seems. However, all three are keeping secrets.
Whether focusing in on catching fish off a pier, learning to speak Bird at night school, riding towards inspiration on horseback or thinking about manatees, the poems in Claire Dyer's second collection offer a slantwise look at some of the experiences, both real and imagined, that can shape our lives. Influenced by Elizabeth Bishop and the Morpho butterfly, the pieces in Interference Effects shift and alter depending on the reader's viewing angle. Infused by the colour blue, they compare a farmer harvesting to a recipe for Victoria sponge; show boys learning to swim as another is buried at sea; tell of a heart that's left at a checkout as a curator's assistant gives hers in for safekeeping. These pairings search for definition and meaning whilst acknowledging the beauty and strength in never actually being able to capture either.
Paddington Station, 9:00 Uhr morgens. Im Gedrange der Reisenden steht die Zeit fur zwei Menschen plotzlich still: Fern und Elliott, einst Liebende, doch seit funfundzwanzig Jahren getrennt. Nie hatten sie erwartet, sich wiederzusehen, nie hatten sie erwartet, dass es sie so beruhren wurde. Obwohl ihr Leben weiterging, sie heirateten und Kinder bekamen, horte keiner der beiden auf, den Tag zu bereuen, der sie auseinanderbrachte. Sie verabreden sich fur den Abend, wenn der Ruckweg sie wieder zum Bahnhof fuhrt. Es wird der Moment sein, in dem sie ihr Morgen wieder in der Hand haben.