About Karen Dennison
Karen won the Indigo Dreams Collection Competition in 2011 resulting in the publication in 2012 of her first collection Counting Rain. Her second collection, The Paper House, was published by Hedgehog Poetry Press in Spring 2019. Karen is editor and publisher of the pamphlets Book of Sand, Blueshift (longlisted for the Saboteur Awards 2016) and Free-fall. As an artist, she collaborated with poet Abegail Morley on her pamphlet The Memory of Water. Karen is co-editor of Against the Grain Poetry Press.
Karen’s poems have been published in South, Orbis, The New Writer, Ink Sweat and Tears, South Bank Poetry, Artemis (poem commended in Second Light poetry competition 2013 and judged by Moniza Alvi), What the Dickens? Magazine, The Interpreter’s House, Obsessed with Pipework, Prole, Amaryllis, Under the Radar, the Mary Evans Poetry blog, the Poetry Shed, Agenda, Poetry Salzburg Review, The Frogmore Papers, The Lampeter Review, Corbel Contemporary Poetry Series, Antiphon, The Lake, Atrium, Now Then Word Life and in ten anthologies: poetry wivenhoe 2011, Heart Shoots, From the City to the Saltings, so too have the doves gone, The Chronicles of Eve, ornith-ology, Stone’s Throw, Full Moon & Fox Glove, Troubadour, and Towards the Light.
- Title: The Paper House
- ISBN: 978-1916480698
- Pages: 64
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‘Bright with startling sensory details, these are poems in which bodies, buildings and lives stand in for each other; poems of sheds, outbuildings and the paper houses of memory. Karen Dennison’s writing is playful with time, speaking the voices of those who were never given the chance to speak, mining the depths of family and inheritance as well as the brutality of loss. These are moving, wise poems, poems in which the reader becomes “a traveller / returning home to find a house familiar / yet strange.”‘ Suzannah Evans
‘“In my hands there are scraps of sky and sea”, writes Karen Dennison in the title poem, as she hands them over to the reader for a look. The Paper House flickers with poems that snatch at your memory. They are an accumulation of sharp snapshots pasted on a sheet to create a whole that is intricate and lingering. Dennison guides you with sensitive mastery through a glass where interiors are wild landscapes, and the sky a misbehaving memory. The journey is well worth it.’ Claire Trévien