The leading poet of her generation returns with a deeply personal third collection, Running Upon The Wires.
Whether on stage or on the page, her language hits like lightning. It illuminates and it burns
Running Upon The Wires is Kate Tempest's first book of free-standing poetry since the acclaimed Hold Your Own. In a beautifully varied series of formal poems, spoken songs, fragments, vignettes and ballads, Tempest charts the heartbreak at the end of one relationship and the joy at the beginning of a new love; but also tells us what happens in between, when the heart is pulled both ways at once.
Running Upon The Wires is, in a sense, a departure from her previous work, and unashamedly personal and intimate in its address but will also confirm Tempest's role as one of our most important poetic truth tellers: it will be no surprise to readers to discover that she's no less a direct and unflinching observer of matters of the heart than she is of social and political change. Running Upon The Wires is a heartbreaking, moving and joyous book about love, in its endings and in its beginnings.
In terms of visibility, Kate Tempest is currently way ahead of her performance-poet peers. Out on her own, she sounds like a woman who knows exactly what she's doing
One of the brightest British talents around. [Tempest's] spoken-word performances have the metre and craft of traditional poetry, the kinetic agitation of hip-hop and the intimacy of a whispered heart-to-heart
Dazzling wordsmithery. . . As anyone who has seen her perform will know, she doesn't just paint pictures with words when she performs, she paints fireworks in the night sky
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