CHAOS THEORY	The Welsh Poems, Peter Finch [£9.95, Shearsman]
	Peter Finch's work, says the back of his new Shearsman book, is famous 'for it's fringe-dwelling, its boundary-pushing and its innovation' and has 'always veered wildly between the conventional and the experimental'. It kind of leaves little to say in a review, although I'd want to argue that it's more the hybridity of the work that is new; the fact that Finch's poems are both experimental and conventional. Some of this is achieved because Finch has a sense of humour; he isn't a po-faced theoretician who has ring-fenced himself into a corner or commandeered a clique. He's not afraid to make the reader laugh, or to laugh at himself. His superb knowledge of avant garde poetries informs and underwrites all of his texts, whatever their final form. Many of the poems in here rely on sound, but there are also found poems and photocopied texts. Should we read aloud or in our head? Are these black and white blurs concrete poems, art or texts for improvised vocals? Does it matter? The juxtapositions and deformations, the music of the language, the organizational skills that Finch brings to bear far outweigh any concerns about what kind of poetry this is. Finch plunders his own and others' texts, roots around in the imagination and delights in what he finds. The Welsh Poems may contain many works rooted in the author's adopted country, but it extends far beyond any parochial or national boundaries. Finch's home is the international one of Dada and collage, the surrealist, with a nod to innovative writing from across the Atlantic, and an eye on the TV in the corner. Life passes in a blur, these poems freeze frame language and regurgitate sense and meaning several pages later. 'Things grow in power and importance as they travel' says Finch in 'Repeat'. These poems are well travelled indeed. This is Finch's best book so far. © Rupert Loydell 2006	Poems says the back may contain many of his new works rooted in Shearsman book, is the author's adopted famous for it's country, but it fringe-dwelling, its boundary-pushing more the extends far beyond and its innovation' any parochial or and has always national boundaries. Finch's home veered wildly between is the international the conventional and one of Dada the experimental'. It and collage, the Peter Finch's work, The Welsh poems freeze frame language are both experimental and regurgitate sense kind of leaves surrealist, with a little to say nod to innovative in a review, writing from across although I'd want the Atlantic, and to argue that an eye on it's grow in power a sense of and importance as humour; he isn't they travel' says a po-faced theoretician the TV in hybridity of the the corner. Life work that is passes in a new; the fact blur, these poems that Finch's are himself into a well travelled indeed. corner or commandeered This is Finch's a clique. He's best book so not afraid to far. make the and conventional. Some of and meaning several this is achieved pages later. 'Things because Finch has reader laugh, or to laugh at himself. His superb knowledge of avant garde poetries informs and underwrites all of his texts, whatever their final form. Many of the poems in here rely on Finch in 'Repeat'. who has ring-fenced These poems kind of poetry this is. Finch plunders his sound, but there are also found poems and photocopied texts. Should we read aloud or in our head? Are these black and white blurs concrete poems, art or texts for improvised vocals? Does own and others' texts, roots around in the imagination and delights in what he finds. it matter? The juxtapositions and deformations, the music of the language, the organizational skills that Finch brings to bear far outweigh any concerns about what