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Marija Todorova reviews an evocative poetry collection that seamlessly weaves together themes of migration, identity, memory, and cultural heritage.

Tegan Smyth, Mountain Songs (Proverse Hong Kong, 2023), 88pp.

Tegan Smyth’s Mountain Songs is an evocative poetry collection that seamlessly weaves together themes of migration, identity, memory, and cultural heritage. With the collection’s focus on the lives and memories of women in the poet’s family, Smyth offers an intimate yet universally relevant exploration of how migration shapes identity and belonging. Mountain Songs transcends personal reflection to engage with global narratives of displacement and resilience, offering a timely reflection on the human condition in an era of migration and crisis.

Migration is the cornerstone of Mountain Songs, shaping not only the lives of Smyth’s ancestors but also the poet’s own sense of self. The collection delves into the personal histories of women in Smyth’s family, whose experiences of migration – both within and beyond China – reflect the broader struggles and resilience: “migrant mother’s heart in mouth/ and suitcase in hand,/ fathers six times over/ escaping famine in rickety boats” (Erasure). The women in Smyth’s family occupy a central place in Mountain Songs, serving as both the subjects of the poems and the carriers of cultural memory. Their voices, stories, and struggles form the backbone of the collection, offering a rich tapestry of intergenerational perspectives. By foregrounding the lives of these women, Smyth challenges the erasure of female voices in historical narratives and underscores their vital role in preserving cultural heritage. Smyth’s grandmother and mother serve as central figures in these narratives, embodying the intergenerational impact of displacement. Through their stories, Smyth explores how migration disrupts and redefines notions of home, belonging, and cultural identity: “I am where I grew, I am where I should feel home./ But I don’t” (Double Nature).

One of the most striking aspects of Mountain Songs is Smyth’s ability to universalize the deeply personal narratives contained within her poetry. Smyth’s reflections on migration and identity invite readers to recognize their own stories – or those of their ancestors – in her mountain songs. As the poet observes, “we must write for the ones who came before who have been forgotten by time” (We Write) and each of us carries our own mountain songs or migration narratives. Whether these journeys are physical, emotional, or spiritual in nature, they shape who we are and how we relate to the world around us.

The poet’s exploration of memory is both intimate and communal, reflecting the dual nature of family histories. On one hand, Smyth delves into the personal memories of her mother and grandmother, whose oral accounts reveal the emotional and physical toll of migration. On the other hand, she situates these individual stories within the broader context, showing how personal and collective memories intersect. This interplay between the individual and the collective enables Smyth to capture the complexity of identity, which is shaped by both personal experiences and cultural inheritances.

Smyth’s poetic craft is characterized by a delicate balance between lyricism and critical awareness. Her verses are poignant, quotidian, and mystical by turns, but they are always grounded in keen insight and cultural reflection. The poet’s use of language is both evocative and precise, capturing the sensory richness of her family’s stories while probing their deeper implications. For example, a cycle of connected poems about food turns into a meditation on the ways in which food carries cultural memory and sustains connections across generations (Vignettes from an Immigrant’s Daughter).

Language plays a pivotal role in Mountain Songs, functioning as both a medium of expression and a marker of cultural identity. While the poetry is written in English, Smyth frequently references words and phrases in the Hakka dialect, a Chinese language spoken by her ancestors. Smyth occasionally introduces words from other languages, including Australian Aboriginal languages, and even Russian. This linguistic interplay, with explanations by the author in the Glossary and Notes at the back of the book, underscores the complexities of identity for migrants and their descendants, who often navigate between multiple languages and cultural contexts. This linguistic multitude mirrors the experience of many migrants, who straddle different linguistic and cultural worlds. The Hakka dialect becomes a vessel for cultural preservation, as seen in poems where food, songs, and oral traditions are described using Chinese and Hakka words. These moments remind readers of the importance of language in maintaining connections across generations (Vignettes from an Immigrant’s Daughter).

The inclusion of Chinese words in the English text not only pays homage to Smyth’s heritage but also reflects the ways in which language carries cultural memory. For instance, the Chinese terms evoke familial ties and traditions, anchoring the poet’s ancestors’ experiences within a specific cultural framework. Similarly, the use of Australian Aboriginal terms highlights Smyth’s connection to her environment and acknowledges the significance of Indigenous cultures within her broader narrative. At the same time, the use of English situates the narratives within a global context, making the poems accessible to a broader audience. However, Smyth poignantly highlights the colonial entanglements and power asymmetries inherent in language, reflecting, “I lose count of which mother tongues colonised other / tongues,” (Avoidance Speech).

This linguistic multitude mirrors the experience of many migrants, who straddle different linguistic and cultural worlds. The Hakka dialect becomes a vessel for cultural preservation, as seen in poems where food, songs, and oral traditions are described using Chinese and Hakka words. These moments remind readers of the importance of language in maintaining connections across generations (Vignettes from an Immigrant’s Daughter).

In addition to its lyrical qualities, Mountain Songs demonstrates a critical engagement with issues of migration, identity, and representation. Smyth’s reflections on the refugee crisis and the marginalization of migrants highlight the socio-political dimensions of her work, situating her poetry within a broader discourse on social justice: “They have more in common with you than they would ever admit,/ they have merely won the lottery of birth and no more” (Lottery). By giving voice to the often-silenced narratives of migrants and refugees, Smyth’s poetry becomes an act of resistance against dehumanization and erasure.

Empathy emerges as a central theme in Mountain Songs, connecting the personal and the universal, the past and the present. Smyth’s poetry invites readers to step into the shoes of her ancestors and, by extension, to consider the experiences of migrants and refugees around the world. This emphasis on empathy aligns with my work on storytelling and migration underscores the power of personal narratives to challenge stereotypes and build solidarity. Personal narratives have the potential to “rehumanize” those who are often reduced to statistics or stereotypes. Smyth’s Mountain Songs achieves this rehumanization through its intimate portrayal of her family’s migration stories, reminding readers of the shared humanity that underlies all such journeys.

Tegan Smyth’s Mountain Songs is a profound and moving exploration of migration, memory, and identity. Smyth’s poetry is both a tribute to her ancestors and a call for empathy and understanding in a world increasingly marked by displacement and division. By highlighting the universality of migration stories, Smyth reminds us that we all carry our own mountain songs, and that these stories – whether sung, spoken, or written – have the power to connect us across time, space, and cultural boundaries.

In a time when the narratives of migrants and refugees are often dehumanized or ignored, Mountain Songs stands as a testament to the power of storytelling to preserve cultural heritage, foster empathy, and affirm the dignity of those who have been displaced. It is a collection that resonates on both personal and global levels, inviting readers to reflect on their own journeys and identities.

Dr Marija Todorova is Assistant Professor at the Education University of Hong Kong. She has published on issues related to inclusion and cultural integration, as well as crisis and community translation. She is the author of The Translation of Violence in Children’s Literature (Routledge, 2021). Most recently, she has co-edited The Routledge Handbook on Translating and Interpreting Conflict (Routledge, 2025). Todorova is an editor of New Voices in Translation Studies. She has served on the Executive Council of the International Association for Translation and Intercultural Studies (IATIS) and currently chairs the IATIS Outreach Committee.