I have long been an admirer of Hannah Silva’s particular brand of poetry. She is a bold, unpredictably rangy poet, incorporating sonic repetition (on the page and on stage), collage, the language of social media, sonnets and other experiments in the deployment of writing and voicing language in her oeuvre. The first time I encountered her work was in performance at an event celebrating Tears in the Fence literary journal’s 25th anniversary. She performed a poem that consisted entirely of bird-like whistles. I’d never seen or heard anything like it before. It was completely mesmerising. I was blown away. Since then, I’ve read her work or watched her in performance any chance I get. This poem Gaddafi, a rolling chamber of sound, is a fine example of her politically charged experimentation. There’s no poet quite like her.