White Hare, Grey Hare, Black

White Hare, Grey Hare, Black is more loosely connected than many of Rimbereid’s earlier books, but the composition is both meaningful and effective. Throughout the collection there are sliding, leaping, bounding shifts between art and reality, between memories, history and life. Rimbereid senses, thinks, asks: He connects the inner world of man with the outer material world in a collection that shows how reality expresses and elevates itself, in works of art and crafts, and in the many quiet objects in the world.

In his new book, Øyvind Rimbereid creates a historical space rarely seen in poetry today.

This time [Rimbereid’s] originality and seasoned mastery are in the details, in the little things, in the tone and the phrasing.

This Brage-nominated poem collection is perhaps the place to start for readers wishing to enter the world of Øyvind Rimbereid. It’s intense and exciting.

It’s impossible not to be inspired by the rhythm and surges of Rimbereid’s poetry.

Øyvind Rimbereid is a stimulating lyric poet. He is both familiar and fresh with each re-reading. He doesn’t settle into any mould, but explores and expands our living world.

Rimbereid contemplates art and creates poetry at the highest level. [...] The poem’s narrator seeks the paintings’ limits, the faint, the outermost, ‘which are to be found in every gallery, on every wall’ – so, a human vulnerability that can be found just as much in publicly renowned art as in private photographs. The broken, cubist form in Ekeland’s painting is used to gently push the narrator’s memories into the picture, and in this way creates an abundance of meaning.