Myra Schneider's new collection brings a fresh sense of reality to some well-known images. Colour is the keynote of the book, moving through Matisse, Hockney, Chagall; sound too, in Mahler and Beethoven. Often we find skin-deep assumptions turned around: the gold of ancient Crete is not its jewellery but olives; a postbox's bright exterior conceals menace; a major twentieth-century artist only started painting by chance at the age of twenty; and the long poem 'Minotaur' makes it clear that the Minotaur is no monster, Theseus no hero. Myra Schneider's tenth full collection is 'worth getting hold of if you like your poetry emotionally vulnerable, richly allusive and superbly poised between past and present.' Poetry London