How can a critic respond to Zane Koss‘ debut collection, Harbour Grids (Invisible Publishing, 2022), which, despite being “a long poem in four parts” is textually, and even visually, sparse, defined as much by absence as by presence? In this experimental review, John Nyman mirrors Koss’ terse and spatial form, in an attempt to approach the text on its own terms — to chart a route for readers through the breakwater and steer us clearly