Dream Catcher 40 is boldly introduced by David Baumforth’s Sunrise providing a dramatic opening for a dramatic issue. Dream Catcher continues to receive a high quality of work from both familiar contributors and many new names: with such a range of ideas, from the heart-breaking to the bizarre, the magical to the uncompromising truth about the world we live in.
This time around we have included more prose, which, coupled with the fantastic poetry we have received makes for a solid, engaging, stimulating and, as ever, varied issue, with work showcased from all around the globe.
In this issue are pieces that make you think: Mark Wasserman’s essay, ‘Strictly Cinematic’ is worth a half hour out of anyone’s day, and stories which surprise and excite, Marian Berges’s ‘Dog Story’ will leave you quaking, and Christian McCulloch’s beautifully told ‘Wild Colonial Boy’ will do something strange and uplifting to your heart. There is a bumper crop of fiction in this issue and I wish I could showcase each and every piece. But alas, like the issue itself, there is not enough space to do so. Coupled with the fantastic poetry we have received issue 40 makes for a solid, engaging, exciting and as ever, varied issue, with work from all around the globe.
Where poetry is concerned, it’s often the first lines; that first stanza that grabs you, so when I came across the opening stanza of Claire Potter’s ‘Bowl of Tangerines’ my heart stopped in my chest and I knew we had to have it:
The sweet, oily linger of late night fruit
works its devil’s detail, singes
my pillow with its fire-dancing footprint.
I had a similar feeling when I read Neal Beardmore’s ‘Fisherman Seated on Rock’
Eijo’s been at the sake again,
Signed the painting ‘Tipsy’.
Dad let’s her get away with it…
I could go on and on, pulling lines out to show you the quality of the work in this magazine, but you’ll just have to buy it to see. I hope you enjoy reading it half as much as I, and the Dream Catcher Team, enjoyed putting it together.
David Baumforth is widely known as the ‘Turner of the North’ and we are pribveleged to showcase some of his work.
Former Art Critic for the Financial Times, William Packer, has written of Baumforth, ‘(He)… is a painter of sea and landscape who stands foursquare and unapologetic in the Romantic Turnerian tradition, but, as his powerfully evocative works make clear, it is to the later Turner of the near-abstract, apparently unfinished canvases and the rapid free intuitive watercolor studies, all mist and light and spray, with strange forms emerging from the shadows, that he is always looking.’