30 Thousands of Miniature Dachshunds from All Over The World
31 Dr D.
32 Treatment Day Afternoon
33 Me and K.
34 A Person with a Saw
35 Wall
36 Lounger
37 The Woman with Long Black Hair
38 Dr G.’s Ears
39 B. and the Evangelist
40 The Woman in the Bed Next to Mine
41 Behind the Yellow Curtains
42 The Villa
43 Zebra
44 Silver
45 ECT
46 The Singers
47 Torpid Ewes
48 The Heiress
49 Women Look So Ugly When They’re Bored
50 Woman in a Nightdress
51 Lettuces
52 Boa
53 Woman in a Blanket
54 The Lounge
55 The Letter E.
56 The End of the World
57 What to Die of and What Not to Die of
58 Blood Tests
59 The Lady with the Trolley
60 Sister’s Favourite
61 Lice
62 African Violets
63 Swallow
64 A Visit from the Chaplain
65 Are Dachshunds Ever White? Can Zebras Swim?
66 Strange Hats
67 Tranquillity
68 Marmalade
69 Useless Facts About Pigs
70 Twenty Years Ago for One Tick
71 Various New Tests
72 Tomatoes
73 What a Beetle Sounds Like When It’s Old
74 Swimming-pool
75 Fruit-bowls
76 Among the Jellyfish.
79 Biographical note
Related Reviews
‘Arguably the most distinctive truth teller to emerge in British poetry…Despite her thematic preoccupations, there’s nothing conscientious or worthy about Hill’s work. She is a flamboyant, exuberant writer who seems effortlessly to juggle her outrageous symbolic lexicon…using techniques of juxtaposition, interruption and symbolism to articulate narratives of the unconscious. Those narratives are the matter of universal, and universally recognisable, psychodrama…hers is a poetry of piercing emotional apprehension, lightly worn… So original that it has sometimes scared off critical scrutineers, her work must now, surely, be acknowledged as being of central importance in British poetry – not only for the courage of its subject matter but also for the lucid compression of its poetics.’ – Fiona Sampson, Guardian [on Gloria: Selected Poems and The Hat]
‘Hill, more than any other English poet, cranks out angry, impotent, abused and richly surreal Britain. And she is very very funny…fresh, fierce and convincing… A mood-swinging voice, talking to itself rather than to the reader, shows how pain and joy transform the material world.’ – Claire Crowther, Poetry London
‘Her adoption of surrealist techniques of shock, bizarre, juxtaposition and defamiliarisation work to subvert conventional notions of self and the feminine… Hill returns repeatedly to fragmented narratives, charting extreme experience with a dazzling excess.’ – Deryn Rees-Jones, Modern Women Poets