Full Disclosure: Have read little of Bryce’s previous work. My review copy kindly donated by the folks at the Forward Prize.
Review: Recently Bryce was described by Fiona Sampson as being ‘now part of the English poetry establishment‘, not, perhaps, uncomplicated praise for someone from Derry, particularly with regards to a collection that explicitly states her upbringing in a republican household. This can’t have escaped Sampson’s notice, and the line ‘the Northern Irish Bryce […] has found her topic’, reads a little like ‘as one might find one’s hobbyhorse’. Needless to say, The Whole and Rain-Domed Universe shows a deal more thoughtfulness than its ostensible champion. There’s a nice bit of background info in this podcast, if you’re curious, in which Bryce answers some slightly loaded questions.
From its title onwards, the collection works within domestic spaces, figured both as boundaries to be overcome and oppressive inhibitors. The opening poem dramatises this dynamic as the narrator ‘stepped from my skis’ into deep snow, to ‘sleep in my own shape, happily / as the hare fits / to its form’. This formal double-bind points towards Michael Longley’s poem, ‘Form’, a four-liner worth quoting in toto: ‘Trying to tell it all to you and cover everything / Is like awakening from its grassy form the hare / In that make-shift shelter your hand, then my hand / Mislays the hare and the warmth it leaves behind.’ Bryce’s speaker, lying ‘chest deep’ in form-hugging snow (another Nordy poetry mainstay) will ‘finally drift into the dream of white / from which there is no / way back.’ All told, the poem frames the collection’s recollections as this inescapable, yet comforting (‘like a fossil in a rock […] warm and safe’) dream; through its nod to Longley it hints that this act of retelling might also be a distortion. Christ it’s fun to read poems.
The book’s title is deployed in ‘Derry’, in which the hometown of the poet’s youth expands to encompass or delimit the known world. The poem’s opening line, ‘I was born between the Creggan and the Bogside’ is a direct reference to MacNeice’s ‘Carrickfergus’, which begins, ‘I was born in Belfast between the mountains and the gantries’. Formally and tonally modeled on ‘Carrickfergus’, ‘Derry’ explores an uneasy identification with her childhood home, though Bryce invests less in the rhetorical force ‘peacock aura of a drowning moon’, more ‘The local priest / played Elvis tunes’, ‘We’d cross the border in our red Cortina’. It’s an effective, engaging piece of scene- and tone-setting; ‘Derry’ paints a hectic kind of family life against the backdrop of Thatcher, new flats, overdubbed Gerry Adams and undiscussed domestic violence, ‘I see blue bruises on my mother’s arms / when her sleeve falls back while filling the kettle’. At first glance this poem seemed flat, the neatly measured lines and rhyme scheme ill-fitted to the poem’s panoramic ambition; giving it more time, it feels more like restrained anger about a time and place too distant to fix, the only available redress as faithful a remembrance as possible: ‘I watched that place grow small before / the plane ascended through the cloud / and I could not see it clearly any more’. The resigned simplicity of the rhetoric in the last line packs its own manner of punch.
Broadly speaking, the collection’s first half largely concerns a home life in which the narrator is confined to quarters, either by the periodical intrusion of (very young) British soldiers or a distant and often violent father, in which the book affords its attention to the women in Bryce’s family, her mother apostrophised for her ‘gravitas / Irish stew. A sense / of the ridiculous’ and ‘A comic turn of phrase. / An iron constitution’ in the poem ‘Heritance’, or in ‘Mammy Dozes’, ‘Eighty years have lent her skin // a bruised look in composure, / a touch of purples / to the hollows, so Mammy dozing / resembles a boxer in defeat'; or the resilience of the family matriarch Bríd in ‘A Clan Gathering': ‘immaculate in suit and shades […] intent, intensely feeling her way, / heels clacking on the oak floor’. The piece ‘A little girl I knew when she was my mother (After Louise Bourgeois)’ is a sudden, hyper-stylised but welcome bit of dreaminess. Bourgeois’ presence here seems to license the poem’s magic realism, its blending of the human body with the natural world (though Longley again might be an enabling presence), while Bourgeois’ well-recorded work ethic until her passing at the age of 98 hints at her place among Bryce’s extended family of resolute women. Bearing in mind the lines in ‘A Clan Gathering’, ‘I don’t mention my lover, / how we have to invent / for ourselves a blank, unscripted / future; her guaranteed absence / from the diagram, the great / genetic military campaign’, the inclusion of the LGBT equality and feminist activist Bourgeois in a poem that combines the poet’s mother’s childhood and old age in terms of art (‘the pages of a bed / from sheets the colour of old snow’) and rebirth (‘dragged her wings from a chrysalis / slipped from the folds of the Virgin’s robes’) seems to hint at fairly radical empathetic work going on in this poem, seemingly understanding the mother’s (or grandmother’s) lack of understanding. This is, admittedly, detective work, but it’s what made the poem make sense to me.
Elsewhere, in ‘Signature’, ‘A Simple Modern Hand’ and ‘The Quiet Coach’, Bryce explicitly discusses the lasting impact of her childhood and her mother within it; in the collection’s final poem, the narrator imagines that the locks of grey hair on the seat beside her belong to her mother, ‘whose journey southwards, / earlier today, was a textbook reversal of my own. […] She is steadily un-solving my Everyman / crossword, reinstating / each white space / as if in the wintry landscape / of her brain’. The closing lines, ‘I bow my head / to the questions’ are a fairly straightforward explication of this unresolved (or ‘un-solved’) relationship, and which point back to the book’s epigraph, concerning Rimbaud: ‘Like many inveterate travellers, / he was attached to his starting point / by a powerful piece of elastic’. While this uneasy relationship to home might be nothing especially new to poetry (not least to poetry written in Ireland or by Irish poets), the collection’s ambition to foreground women’s experiences in the light of 1980s Derry, strengthened by the poet’s almost superhuman compassion – see ‘The Brits’, in which soldiers enter the family home, are convinced to drop their weapons by the narrator’s mother, become ‘the action figures I played with as a child’, are dressed up in ‘little high street shirts’ and ‘hand[ed] back to their mothers’ – dry humour and what might be called bloody-mindedness (perhaps that ‘iron constitution’), make it a worthwhile book if you’re interested in an aspect of the Troubles little covered in such documentary detail.
Tl;dr: Understated and difficult to grandstand about, The Whole and Rain-Domed Universe is not prizewinner material. Happily, that is not necessarily a desirable trait in contemporary poetry. Weighing in at 30 poems and little over 50 pages, there are few books that achieve so much with so (apparently) little.