Luxe is a magnificent spree in a bric-a-brac shop. A haul of pre-loved and glittering objets – pralines in a crystal bowl, a handful of tame ladybirds, a portrait in vinyl and cola-cubes – are artfully displayed on the poems’ shelves to represent the conflicts and connections of a fabulous circle of friends and lovers, those real, remembered and imagined.
‘Luxe, Amy Key’s debut collection, is a magnificent spree in a bric-a-brac shop. A haul of pre-loved and glittering objets – pralines in a crystal bowl, a handful of tame ladybirds, a portrait in vinyl and cola-cubes – are artfully displayed on the poems’ shelves to represent the conflicts and connections of a fabulous circle of friends and lovers, those real, remembered and imagined.
Layer your pulse onto my pulse she writes in ‘On Being In Bed With Your Brand New Lover’. Dress me. Only the reader knows if this is an order, an instruction or the sweetest sort of invitation. Read a copy of Luxe, keep it next to your fainting couch.’ —Julia Bird
‘This delicious selection is a chocolate-box assortment of the work of one of my favourite poets writing today. Her delicate, dextrous writing belies the raw truths she tells. There are many centres to her confections that only reveal themselves when you take a bite. In her words 'Poem with peep toes...Poem to conceal some feelings in...Poem to avalanche in your heart'. I love Amy Key.’ —Lauren Laverne
‘If we are living in the material world, I want Amy Key to be my material girl. She makes her pleats and flounces move; she crowds the surface with color and texture right where it needs to be to draw the reader in like a bee to the velvet bell of the foxglove; or like the silverscreen beauty who eats bonbons from a satin box, she wills our gaze to take it all in and to crave more. These poems are worn on the body, and like all great ensembles, they show just enough; they are hot and memorable.’ —D.A. Powell
‘Aside from all their purely poetic elements, what strikes me most about Amy’s poems is the kind of idea of woman-ness which they work with. It feels like what is happening is a kind of valorisation – as oppose to eroticisation – of feminine vulnerabilityKatherine Kilalea’ —Katharine Kilalea
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