You write poems about funny things', Hull was told in one such place. She's an animal rights activist and in the sequences 'The Bre Roo Works' and 'The Goat Abattoir' writes confrontingly and uncompromisingly about the terrible sights, smells and sounds of these killing places. I won't be the only reader to find the latter sequence unbearably painful, not merely because of its theme but because of Hull's passionate engagement with it and the fierce strength of the poems. The poetry she's written about 'the broken land' is spare and direct, given force and authenticity by the plain, natural language through despair, desolation and horror are made real and immediate. It was like holding warm fruit heated by the sun.
Poetic projects are often unsuccessful because the project overwhelms the poetry.
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