The Red Wardrobe
(Seren Books, 1998)
Shortlisted for both the Forward First Collection prize and the T.S Eliot prize in 1998, Sarah Corbett’s first collection of poems introduces a voice of considerable power and intensity, her poems infused with mystery and the intent of discovery. Two major themes emerge in the book, the first is based on the author’s experience of her mother’s absence as a young child and the second derives from the author’s childhood in rural Wales and her fascination for horses. Horses appear in both the actual and imaginative sense, as icons for strength, freedom and unbridled erotic energy. ‘The Red Wardrobe is poetry as white knuckle ride’. (Poetry Review)
The Witch Bag
(Seren Books, 2002)
Sarah Corbett’s second collection opens with an invocation of woman as witch, a spellbinder who is both “weightless, thin as a pond moss” and “blacker than the pond’s black belly”. In sensuous and evocative language the poems conjure intimate worlds, the subjects often fearlessly personal: birth, death and love in all its manifestations. The Witch Bag further’s Sarah Corbett’s reputation as one of the rising stars of British poetry. “The Poet, like (Ted) Hughes, takes on the role of seer” (Skald)
(Seren Books, 2008)
From the first sumptuous poem, where the speaker thinks of her body as a “nocturnal bloom”, the reader is immersed in the compelling voice of Sarah Corbett. This poet bravely eschews lightness for a whole-heartedly passionate and intensely physical response to life. The collection opens with a group of poems of journey and escape and moves through personal territory to other lives and recent history. ‘Cuttings’, a sequence of found poems, takes its cues from the daily news during the Iraq War, and the long poem, ‘Testimony’, re-imagines the notorious murder of Peter Falconio in the Australian outback in 2002.