Poetry persuades by the precision of its language, and this necessary exactness is carefully and coldly won over years of drafting and redrafting. Jane Draycott's first collection, Prince Rupert's Drop, was well received and rightly so. Her work had a patient intelligence of practice, and concision of address, not only in every poem in that book but in the very philosophy of perception informing her poetics.
Those who enjoyed Jane Draycott's "Tideway" poems, deriving from her work with the Thames watermen in her previous book, The Night Tree (2004), will know how well she evokes the otherness of the underwater river-world, its shifts, silences, doorways and vaulted depths, and it is in this sense that the word "quiet" should be applied to the chords and modulations of Draycott's eerie and beautiful poems. She listens, and therefore so do we.