In Parallax Sinéad Morrissey documents what is caught, and what is lost, when housesand cityscapes, servants and saboteurs (‘the different people who lived in sepia’) are arrested in time by photography (or poetry), subjected to the authority of a particularperspective. Assured and disquieting, Morrissey’s poems explore the paradoxes in what is seen, read and misread in the surfaces of the presented world.
