An excellent collection of poems by one of America’s finest young poets.
-Peter Thabit Jones, The Seventh Quarry, Wales
The poems of Annabelle Moseley’s new collection, Artifacts of Sound, open thresholds to places in ourselves, where we can come closest to understanding who we are and what is precious. These poems are so finely attuned and attached to the spirit that the words almost leave the page and meet the reader in mid air, like the music and instruments that she writes about. It is an immense delight to be led by this poet’s imagination, to be guided by her rich language, sometimes surreal, provocative, and sometimes – seductive. Her poems are mystical and musically tuned, sensory translations of the imagination. This book must be added to your list of rich new voices!
In Artifacts of Sound, Annabelle Moseley invokes Polyhymnia, sacred muse of music and dance. This collection is a virtuoso performance, sonorous and engaging. With technical skill and passion, Moseley composes her lyrics in counterpoint or syncopation with the dynamics of classical orchestral performance as well as the duende of Andalusian guitar, gypsy charm and flamenco dancing. To take from Keats’ famous line about truth and beauty, this chapbook asserts that: “Poetry is music, and music, poetry.”
Annabelle Moseley, in Artifacts of Sound, leads us into the world of sound and lets us hear the muses in woods and streams, in the syncopated rhythms of blues, classical music, and in the passionate beat of Spanish dance. In these chiseled lyrics, we are within the various instruments, “enfolded like a fetus,” experiencing the pleasure of exquisite sound. Moseley’s poems truly become the “ambassadors” of music.
In her poems, I find hints of Blake, of Yeats.
She has become Voice, then, for this “sound”, the very “skin of the world,” its resonating echo.