Still, the Sky by Tom Pearson is a truly special collection. Perhaps it is being a Classics graduate but Pearson's speculative mythology, with Icarus and Asterion (the Minotaur) at the centre, is a beautiful re-imagining of myth. Pearson reminds us of the sheer romantic power of mythology but also sculpts and shapes it; as myth is always meant to be used. It is a medium with which the human race have always played and created.

Much like Madeline Miller's contemporary retelling of Achilles' and Circe's narratives, Pearson's collection of poetry, artifacts, ecofacts and ephemera, weaves together what we know of Minoan Crete and what we do not. Pearson draws upon the work of scholars, Ovid's Metamorphoses and the city of Venice to breathe new life into the labyrinthine relationships between Icarus and his father, Icarus and the Minotaur, as well as the arrival of Theseus and his success with the aid of Ariadne.

The artifacts, gorgeously rendered photographically in this collection, provide us with an insight into the wondered life of Asterion. He collects the carcasses of bees and bottles up shards of bone; the bibelots of a creature written off as a beast by Western mythology, imbuing him with life, sympathy and love. Pearson's portrayal of Asterion is enchanting, evoking a missing softness in the literary canon.

The verse is heady with the fractures splitting across the relationship between father and son - with Daedalus' actions and absence running quietly through the collection. I particularly enjoyed Pearson's choice of Sapphic verse. This is what made it reminiscent of The Song of Achilles, for me. There was something forbidden and foreboding lurking in each stanza - encapsulating the bittersweet of coming-of-age and relationship between two young men, lost in what connects them and severs them in the end.

A feat of brilliance in my eyes; Still, the Sky is a must-have collection masterfully marrying the past with the present.