Many poems in this book explore the consolations that ‘the wild’ offers to the subjects of late modernism. The work is interested in the ways in which the past continually intrudes on the present, in all kinds of atavism, and in the ways in which pockets of wildness in built environments are a source of liveliness and a dark sort of energy. Historical sites recur, as do poems about bonds between children and adults, humans and animals, and humans and the physical world. The title refers broadly to these bonds. Ideas about salvaging, foraging and making do have also been touchstones and Dougan has been influenced by the work of artists as different as Elizabeth Bishop, Iain Sinclair, Richard Long and Andrea Arnold. As a contrast to the wildness the poems themselves aspire to quietness, to cumulative rather than immediate effects, and to sustaining a relatively natural and unobtrusive voice.