In her introduction to the poem 'Night Photograph', Greenlaw comments "If I write about anything in particular I write about how we see and how we try to see." This obsession with perception is at the heart of her work and the tensions within it. On one hand she has the coolly empirical gaze of the trained scientist who pays meticulous attention to the surface of things, on the other Greenlaw acknowledges that science's attempt to explain the world through the analysis of observable phenomena is, at best, incomplete. Light is often the medium she uses to explore these contradictions - it is the means by which we see, but is prone to creating illusions. Different conditions of light suffuse her poems; the gorgeous colours of a polluted London sunset, the poisonous glow of radium, the extremes of an Arctic climate. Vision is for Greenlaw both the evidence of her eyes and what lies beyond rational modes of explanation, like the glimpsed lizard-tail of a dream, or as she says of her experience of an Arctic winter "Because I couldn't see I had to imagine..."
Greenlaw's voice is a beautiful medium for these contradictions. It is a precision instrument, tuned to the particular music of her lines, but it also has a hushed and wondering quality like a naturalist describing a rare creature they've been waiting a long time to study.
Her recording was made for The Poetry Archive on 27 January and 6 October 2005 at The Audio Workshop, London and was produced by Richard Carrington.