'never say / the best of summer’s gone’, the poem asks, a plea for permanence that sustains throughout Fondue, the second collection by A. K. Blakemore. In these louche, candid poems, bearing the marks of Mary Ruefle, Emily Dickinson and The Smiths, the inner life prowls, smoking a cigarette, as the fantasies of sex and violence are allowed to play out in the subjugations that have long been the poet’s concerns. Here they are exposed, interrogated, attacked and cauterised with a fierce melancholy. In Fondue, the prototypes of personal history and regret – ex-lovers and friends, snatched and startling nights of intimacy and rage – are pinned by the investigative presence of Blakemore’s syntax and semantic reach. Here are romances – for places, for people, for the self – voiced with doubt and survival. These lines understand their power to manipulate: ‘this is a poem about my mouth / intended to draw attention / to my mouth’, the title poem instructs. This is what I like; this is what I don’t like – ‘i want you / like a scorpion down my shirt’; ‘i wanted to show it to you’; ‘i want you to describe the pain’ – there is a plaintive charisma in the ability to ask for the things a body needs, as well as the things it needs to understand about other bodies in order to coexist. For all of Blakemore’s defiance, the savagery and storm, this world holds a prismatic, surprising beauty; the beauty of rain-washed streets, of comedown mornings, of the potential for tenderness in the brutality of love and play. The poet who can strike so fiercely at the times when ‘truth is just a sharp thing you stand on in the night’ can also conclude ‘but god i love the world. the things you do’. Tigerish, impetuous, exacting and never self-pitying, Blakemore’s new collection reaffirms her place on the barricades.