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Belfast Twilight - haiku, senryu and micro-poems / Liam Carson

Belfast Twilight - haiku, senryu and micro-poems

By: Liam Carson

€12.00
Belfast Twilight is a collection of haikai (or haiku sequences) that create kaleidoscopic montages that take the reader into various worlds – Belfast’s docklands at twilight; windswept islands off the west of Ireland; life in 1980s London squats; and the suburban haven of the People’s Park in Dún Laoghaire. Within the form of the haiku, Liam Carson delicately unfurls narratives of love and loss; and finds the transcende...
ISBN 978-1-915022-96-7
Pub Date Tuesday, June 24, 2025
Cover Image Photograph by Dianne Heath
Page Count 68
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Belfast Twilight is a collection of haikai (or haiku sequences) that create kaleidoscopic montages that take the reader into various worlds – Belfast’s docklands at twilight; windswept islands off the west of Ireland; life in 1980s London squats; and the suburban haven of the People’s Park in Dún Laoghaire. Within the form of the haiku, Liam Carson delicately unfurls narratives of love and loss; and finds the transcendent within the transient. 


Liam Carson is a watchful observer in constant motion, covering the ground, crossing into and out of a mosaic of territories, into and out of phases of a life. From a whole scene he distils an essence. This is the important work of the haiku – powerfully directed attention, language pared, the found world and its range of resonance pinned in a few words, in a few lines. It’s agile and sturdy enough to encompass the Troubles of his native Belfast, family life, nature rapture, and punk. Out of individual poems here, out of the many sequences, each with its specific focus, Carson gives us a whole interlocking world – fresh, compelling, familiar and properly strange.

Paula Meehan


Liam Carson’s haiku, it could be said, ‘spark flintstones in the dark’. Powerful, heart-wrenching and inspiring.

Gabriel Rosenstock


Belfast Twilight is a veritable trip – of delight, sorrow and reminiscence – which takes us to all four compass points of Ireland, across the pond and beyond. Using impressive control, exquisite imagery, humour and pathos, Carson confirms his status as an exhilarating new voice in the world of haiku.

Maeve O’Sullivan 


Praise for call mother a lonely field by Liam Carson


‘A tale from a dark and troubled place—Belfast in the ’70s and ’80s. Whatever light there is in the book comes from love and language. Liam Carson’s call mother a lonely field is a short but intense portrayal of his parents and the divided city where they made their lives. It will leave you enriched no matter your origins.’

Bernard MacLaverty


‘Raymond Carver used to say one good short story was worth any number of bad novels. So with Liam Carson’s short pearl of a book — worth any number of heavy tomes…The book scoops up hot embers and implosive elements of a time when language became a kind of lightning rod and secret preserve for the spirit.’ 

—Tess Gallagher


‘Like the city he grew up in, Liam Carson’s memoir of life in Belfast winds like a tangled web of streets, dreams, cultures and philosophies, where every page, pavement and street corner offer another dab of colour to a fascinating picture … His description of his mother’s Alzheimer’s disease and eventual death are blessed with clarity, gentleness and a heart-wrenching sadness. His memories of shared moments with his father are beautifully rendered … Carson’s greatest achievement is recycling a complex mix of emotions and ideas on language into a deeply moving read.’

—Michael Foley, The Sunday Times


‘For such a tiny book, it is crammed with dozens of stories. Dreams are recounted, the plotlines of adventure books paraphrased and analyzed, poems and song lyrics reprinted, folk stories and urban myths retold. This is a small book, and a hauntingly simple one. call mother a lonely field is an immensely pleasurable book, and a valuable addition to the canon of Irish autobiography.’

—Conor O’Callaghan, The Irish Times


call mother a lonely field evokes a particular time and dramatic place, as it gets to grips with a society falling apart, all the time making a judicious distinction between archaic loyalties and civilized values. It is written with a vivid economy and understated discernment.’

—Patricia Craig, Times Literary Supplement


‘A unique poetic meditation on an Irish-speaking family which draws fine threads between language and history and the life-saving properties of a wide-ranging selection of narratives, including family lore, folk songs, comic books and the heroics of mythology which underpin the Irish language. Liam Carson pours an astonishingly concentrated draught of wisdom into one slim volume.’

—Martina Evans


‘Carson presents the sights, the sounds, the smells, the essential character of the Falls Road of the period … His mother’s descent into Alzheimer’s is described with a tenderness that is almost unbearable. Every mother should have a son like this—and indeed it is a lucky child who had parents like his. Liam Carson has done them both proud in this affectionate, haunting, highly readable and, at times, poetic memoir.’

—Maurice Hayes, Irish Independent



Paula Meehan's Introduction at the Dublin Launch of Liam Carson's BELFAST TWILIGHT, July 2025

For some years now, Liam has been sending me little batches of haiku by e-mail. They come in at intervals, prompting little spurts of excitement and anticipation. Especially during the plague years, when Covid had isolated us all from each other, these small bursts of illumination came in as brighteners, heart-lifters, signals from Liam's disciplined imagination, lights flashing across Dublin Bay, Southside to Northside.

Each time I opened a file it was with a sense of anticipation based in long-earned trust — and I was never disappointed. The mix of visionary insight and sharp-focused attention to the quirks and miracles of daily life never failed to lift my spirits.

And now, here, in this book, such a rich gathering, such a spur to thought and delight, such a testament to mastery of the craft!

Liam's gaze is unflinching, as is right and proper in one devoted to this most demanding of forms. Above all else, haiku demands the steely attention of the author, the discipline to winnow, distil and discard until nothing superfluous is left, until only the words that matter are left, cold on the page. This discipline is not learned overnight, a long and often thankless apprenticeship is demanded, a certain ruthlessness must be practiced, over and over again. 

Liam's poems have an air of effortless stylishness, a brisk and commanding flourish — but of course this is hard-won. The poems are diamond-bright, reports from a quick attention that fastens on sudden flashes of insight and somehow, again I come back to mastery of form, brings those insights to the page with a spareness and clarity that speaks directly to the reader or hearer as if the moment of revelation was their own. 

Good poetry such as this is always of its time — and yet, somehow, it also endures in time, one might even say it annihilates time, is always fresh and new, is always alive in the present moment. 

Liam has, like all of us, an identity forged in a living history. The boy from the Falls Road cannot but be impacted by what he and his people have lived through; the impact of punk and post-punk on his sensibility, the great good fortunes of love and parenting, the experience of living and working in two languages, all these things shape his sensibility and imagination. It is a very considerable achievement to make a poetry that distils from such a rich mixture of influences and forces the distinct identity that infuses these luminous poems. 

The temptation here, of course, is to offer example after example of haiku and short poems that struck me forcibly, that endure in my memory — but there is a danger that I would end up quoting the entire book.

Let me mention, all the same, certain things that have struck me. 

Liam's use of repetition, of repeated lines or words, is innovative and highly effective.

In 'Good Friday 2023/Dún Laoghaire Pier', for example,

          empty ferry terminal
          forgotten emigrants
          Good Friday

          leads into
          by the old sea baths
          a woman leans on a cross
          Good Friday

and so on.

Perhaps the most powerful and poignant use of repetition to bolster and inflect the accumulation of feelings is in the haunting and very beautiful sequence 'Mother in Winter' where we find, to take but two instances,

          deep winter
          threading needles for my mother
          the fire glows

followed by

          winter night
          making tea for mother
          the kettle's whistle

A second impressive innovation is the gathering of poems into sequences. We are accustomed to what seems a central feature of the haiku tradition, that each short poem must stand alone, must depend on making a singular impact. Right enough, this can be said of any one poem in this collection, but in the sequences Liam has gathered here there is a bonus gained. To have the poems reflecting off and  illuminating each other helps deepen the impact of each individual haiku and also generates a larger landscape of feeling in which each component contributes a distinct feature. You can see this in the sequences from which I have just quoted, but it holds true for all the sequences in the book.

The collection is dedicated to Liam's brother, the late great Ciaran, in loving memory. I too loved Ciaran, as did many others, and I feel it is appropriate here, in closing, to quote Liam's poignant and beautiful gesture towards him, poet to poet:

          autumn 
          wearing my brother's shoes
          I carry his coffin

This is a rich and resonant collection, I am honoured that Liam chose to share it with me as it grew and took on shape, I am honoured to have been asked to launch it into the world.

Pocket this fine book.
Read from it at odd moments
to light up your life.

Paula Meehan,
Dublin 3rd July, 2025

Liam Carson

Liam Carson is the founder and director of the IMRAM Irish-Language Literature Festival, which stages multi-media literary productions that fuse poetry, prose, visual art and music to promote writing in Irish. He is the author of the critically acclaimed memoir call mother a lonely field, shortlisted for the RSL Ondaatje Prize in 2013. He is a haiku poet, and his work has appeared in a wide range of publications, including Autumn Moon Journal, Comhar, First Frost, hedgerow: a journal of small poems, The Irish Times, Poetry Ireland Review, Presence, seashores, Tiny Words, and Wales Haiku Journal. Belfast Twilight is his first haiku collection.

Belfast Twilight


Belfast twilight

a sound of breaking glass 

by the gentle river



Belfast twilight

clouds of starlings pulse

over the Lagan



Belfast twilight

sounds of kick-the-tin

from the street



Belfast twilight

a bonfire’s ashes

in the vacant lot



Belfast twilight

the ice cream van’s song

from a hidden street 



Belfast twilight

the rattle of Lambeg drums

from distant hills



Faithful Departed


autumn 

wearing my brother’s shoes

i carry his coffin



winter walk

along the peaty river

to my nephew’s grave



my face reflected 

in the bus window

my father



a murmuration of snow

in the street light

souls of the departed



yellow tulips

at the dead man’s door

his name unknown



Cork Haiku


Sacred Heart ablaze

in a dark shop window 

Cork in the rain



sleeping bags hang

from an empty shop’s door

Cork in the rain



the Virgin prays

in a roadside grotto 

mist on the mountain 



scent of oil

the cool darkness 

of a country garage



flies on a dead mouse 

prayer flags

in a sea breeze



dandelions nod

in a sea breeze 

the voice of Buddha


(The above poems are Copyright © Liam Carson, 2025)

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