All Fours by Nia Davies
Bodies. Rhythms. Motion. Sounds. All fours is a debut collection of poetry from Nia Davies, a book of rituals in language that stalk the space between what is uttered and what is meant. These poems are haunted by the strange traces of the longest words in the world and folk-mythic figures such as Sinbad, Eurydice, Mossy Coat, Pan and Baba Yaga. They pose riddles with multiple or mysterious answers.
A swerving sweary jump into a terrain that is both comically musical and perplexedly political, All fours speaks of the (mis)adventures of sex and human communication, a life full-to-bursting with burning questions.
‘Nia Davies’ peculiar and witty All Fours is an interrogation of language and sexuality, psychoanalysis and gender, violence and the body, and the values and meaning that we assign to each. Her poetry is surprising, strange, experimental… All Fours is challenging, but its content… is urgent.’ – Suzannah V. Evans, New Welsh Review
‘Nia Davies’s poems are sharply attentive to the realm of the ‘inner ear’, a meeting point of external and internal environments. The lines have their own intense music, but instead of approaching song’s recognition and resolution they push towards the unfamiliar. Archaeologies and soundscapes are carefully excavated in language that sparks at every turn, while multiple directions open for the reader and ‘choice is a parallelogram / best made on the slant”.’ —Zoë Skoulding
‘Bemused, amused, angry, frustrated, erudite, discursive, and always fresh (fresh is one of the words that might deﬁne Nia’s poetry) she comes at them from every angle.' – Mark Waldron
‘Nia Davies quietly dismembers the world around her with a gleeful irreverence and quirky humour. This is poetry full of unexpected twists and turns which both delights and disturbs in equal measures. What a treat to have this substantial collection from one of the most enigmatic new voices in poetry today.' – Geraldine Monk
‘Nia Davies writes rich and adventurous poems. Her work feels borderless… In the event that an “I” surfaces in her work, it is defiantly plastic and multivalent.’ – Dai George