Finishing the Picture

Reviews / Votes

'Does Ian Abbot's poetry [in this posthumous collection] stand up to scrutiny? Does it match the power of his life story? Is he, in the light of 'Finishing the Picture', a major poet about to be rediscovered and valued at last? In my view, he is, although the process will be lengthy. Not only is his world view idiosyncratic and powerful, but it's harnessed to an absolute control of language that creates a unique register. In other words, Ian Abbot's poetic achievements far outreach those of many more renowned contemporaries. In the short term, I doubt that this book will linger in the current frenzy of electronic media and poetic social climbing, but certain judicious readers will find it, treasure it and spread the news. His reputation will gradually grow among the lovers of fine poetry. Thanks to Richie McCaffery's graft and editorial talent, Ian Abbot won't be forgotten.' Matthew Stewart, The Next Review, Vol. 2, No. 4 (July/August 2015); 'There is an armoured history which inhabits [Abbot's] work, and relates much to the unforgiving remoteness of the Highlands where he lived ... Although his worldview can be dark and certainly bloody and cold, the best poems always draw us out of the particular, towards universal issues and concerns ... Among all those wintery shadows, it's obvious he holds a persisting love and respect for the landscape, yet he's constantly asking us not to take it for granted, not to idealise, not to wear those rose tinted tourist glasses... [This book's] publication is an act of recognition, bringing the wealth of Abbot's talent to a wider and younger readership.' John Glenday. Northwords Now. Issue 30. Autumn 2015; 'Ian Abbot learnt to be a countryman, and Finishing the Picture is the work of an accomplished, lyrical poet who recognised the fault-line between beauty and reality in his environment... we are fortunate to have such a consistently elegant, sustaining and varied body of work by a writer of great maturity.' Alison Bell, Dundee University Review of the Arts, 2017.