The poems in the first half of The Ophelia Letters explore the interaction between self and place in ways both strange and loaded with magic: journeying to the Arctic with Werner Herzog, stopping off in Scottish islands and English wildernesses, revealing an electric language of the road that is both expansive and complex. In long title poem Tamas pours this fractured, cut-throat lyricism into the figure of Shakespeare's Ophelia, attempting to retrieve a silenced female voice from darkness, to let the light in.