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The Names is personal and familial archeology, an extemporal dig giving spectres back to their bodies. With its lines sped up and dazzingly associative, Tim Lilburn's cocktail of obsessions -- confession, ontology, mystical theology, humour and extreme, fleet, apt weirdness -- marches through on full display. He pulls in an even wilder cast of characters than his previous collections managed: Jan Ruusbroec and Marguerite Porete brush past aunts, uncles, and unidentified creatures steering the boats of language past fog-draped trees. In Lilburn's latest collection, we are immersed in a realism of remarkable proportions, as though haunted memory comprised both texture and text, and combined formed the elemental fibres of a perilous present.
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