Description

A Guardian and Irish Times Book of 2023

The much-anticipated debut poetry collection from acclaimed novelist Susannah Dickey, on the subject of our cultural obsession with true crime.

ISDAL is a timely interrogation of the true crime genre. In the first of its three parts, we follow the flirty co-presenters of a podcast about the mystery of 'Isdal Woman', whose burnt remains were discovered in Norway in 1970 and who has never been identified.

At the centre of the book is an inquiry into our perennial obsession with female victims, sexiness, and death: ‘The death in question has already occurred’, the poet observes, ‘has occurred to someone sufficiently abstract as to allow us to romp gainfully, guilelessly, guiltlessly through a simulacrum of death’s corridors’.

The free verse poems in the final section both explore and – perhaps inevitably – enact the ethical ambiguities of the genre. Witty, excoriating, formally ingenious, ISDAL marks the arrival of a thrilling talent in contemporary poetry.

ISDAL: a Guardian and Irish Times Book of the Year 2023

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A Guardian and Irish Times Book of 2023The much-anticipated debut poetry collection from acclaimed novelist Susannah Dickey, on the subject... Read more

    Publisher: Pan Macmillan
    Publication Date: 14/09/2023
    ISBN13: 9781035015054, 978-1035015054
    ISBN10: 1035015056

    Number of Pages: 128

    Fiction , Poetry

    Description

    A Guardian and Irish Times Book of 2023

    The much-anticipated debut poetry collection from acclaimed novelist Susannah Dickey, on the subject of our cultural obsession with true crime.

    ISDAL is a timely interrogation of the true crime genre. In the first of its three parts, we follow the flirty co-presenters of a podcast about the mystery of 'Isdal Woman', whose burnt remains were discovered in Norway in 1970 and who has never been identified.

    At the centre of the book is an inquiry into our perennial obsession with female victims, sexiness, and death: ‘The death in question has already occurred’, the poet observes, ‘has occurred to someone sufficiently abstract as to allow us to romp gainfully, guilelessly, guiltlessly through a simulacrum of death’s corridors’.

    The free verse poems in the final section both explore and – perhaps inevitably – enact the ethical ambiguities of the genre. Witty, excoriating, formally ingenious, ISDAL marks the arrival of a thrilling talent in contemporary poetry.

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