See here for Emma Lee’s full review of Interference Effects of which she says, ‘the strength in these poems [is}: their precise language [which] opens and asks questions rather than providing neat, ordered conclusions. At first glance, they flutter into place like butterfly wings but it takes a second or closer reading to notice the engineering driving those wings and how the light reflects, enabling each reader to take away the patterns of light and shade that speak directly to them.’

And here is what the Poetry Book Society said of Interference Effects in their Winter 16 Bulletin: ‘This is Claire Dyer’s second poetry collection, following Eleven Rooms, published in 2013. Interference Effects focuses on many different experiences from picking melons at the supermarket to fishing for mackerel from a pier to witnessing her mother bake a ‘Memory Cake’ from parts of her life. The poems describe the human experience as interpreted by Dyer’s poetic voice. These experiences, which are sometimes real and sometimes imagined, offer a new and unique outlook at the world.’

Thank you to D A Prince for her review of Interference Effects in South which she calls ‘poetry that is questioning and outward-looking. Shades of colour, especially the colour blue, and constant shifts in perception slip through these poems, sometimes as realistic description, sometimes as metaphor. It’s intelligent, multi-facetted and always engaging.’ And she continues, ‘Dyer is human, warm, detailing life as it is alongside life as it might look. Her sensuous play with language, balanced with an ear for contemporary rhythm, makes this a collection worth in-depth reading, worth spending time in its company.’

Thank you too to Noel Williams for his review of Interference Effects in the North 58: ‘Like wings, such poems shine with multiple colours … The hidden meaning in such poems is a function of our own viewpoint. We’ll each see different colours.’

And another thank you to Nessa O’Mahony’s for her review in edition 122 of Poetry Ireland: ‘her eye for the memorable image is undeniable.’

This is an excerpt from David Cooke’s full review of Eleven Rooms for Message in a Bottle:

‘Claire Dyer’s best poems are quietly impressive. Musical and well observed, they create spaces and scenes that have been shaped by the ghosts that haunt them … above all, what distinguishes Dyer’s best poems are their ability to find images that are precise, memorable, and, to quote Boris Pasternak, get ‘to the heart of the matter.’

And here’s some of Belinda Cooke’s kind review of Eleven Room’s in No 51 of the North:

‘For Dyer place is important because place is where we begin and end and where we make all our connections with those we love. By way of carefully crafted poems with tight, cohesive patterns of syntax, she explores this theme in a very individual and unusual way.’

And about Two Rivers Press, she says:

‘The publishing of first collections is a recent development from Two Rivers Press under its new editorship by Peter Robinson. Given the quality of the three titles under review here [The Beholder by Kate Behrens, Eleven Rooms by me and Scrimshaw by Jean Watkins], he is providing a genuine service to poetry in raising the profile of such writers and availing them of a deserved readership.’

Thank you to Sue Boyle for this tender and insightful reading of my competition poem, ‘In Chinese’.