Wednesday, 21 July 2021

'Driftwood by Starlight' in Cornwall: (3) Zennor and the Mermaid

Zennor, the road to St Senara's church

Those of you who have read the last couple of posts will know that on our recent visit to Cornwall we revisited some of the settings for the poems in my new poetry collection, Driftwood by Starlight, published by The Seventh Quarry Press in Swansea, and available here at the UK price of £6.99.

The photo above shows me in Zennor, a village with many literary associations; writers from D.H. Lawrence to Helen Dunmore and Michael Morpurgo have written about this area. It features in one of my favourite poems, 'Zennor', by Anne Ridler (which I once requested successfully for BBC Poetry Please).  



The churchyard holds a number of interesting memorials. The one below is in memory of Dr William Borlase (1696-1772), Vicar of Zennor and well-known antiquarian.


This following photo shows a plaquel commemorating John Davey, one of the last fluent speakers of Cornish before plans were laid to breathe new life into the language in our own day.  

The slate sundial (1737), which adorns the south wall of the bell tower, bears the name of its maker, Paul Quick. Another local person to bear the surname 'Quick' was Henry Quick, also of Zennor, who was known for his poems.

And finally ... we come to the 'mermaid chair', linked to the local legend about a mortal man who fell in love with a mermaid. How does the story end?

Monday, 19 July 2021

'Driftwood by Starlight' in Cornwall: (2) The Penwith Moors


I have loved the moors in West Penwith for many, many years. The air is clear and there is a feeling of being almost surrounded by the sea, as it laps around edges of the peninsula below. The wide open spaces (no crowds up here, as you can see!) give rise to a sense of history and prehistory. 


Archaeologists and others have long mused over the meaning of the holed stone of granite in the photograph, a stone that has clearly been associated with different purposes at different times in its long existence. I expect a good number of sheep, and possibly cattle, have rubbed up against it over the centuries. The Cornish name for this monument (see signpost above) means simply 'stone with hole'. The orange arrow points to the monument.


You can see one of my favourite tin mine pumping engine houses (over the Greenburrow Shaft) from here. 

This particular mine has a very memorable name. My short poem about it features in my new first full collection of poetry, Driftwood by Starlight, published by The Seventh Quarry Press in Swansea, and available at the UK price of £6.99.

Tuesday, 13 July 2021

'Driftwood by Starlight' in Cornwall: (1) Cadgwith


Photo: David Gill

My first full poetry collection, Driftwood by Starlight, was published a few days before David and I headed off to Cornwall, the setting for a number of the poems in the book.

The photograph above shows me on the foreshore at Cadgwith, a small cove on The Lizard peninsula that holds a special place in my heart. I have known and loved this area virtually all my life.

Cadgwith appears on the front cover of my book, thanks to the wonderful night-time photography of Laurence Hartwell of Through the Gaps (thank you, Laurence). What you may, or may not, have noticed is that, serendipitously, there is a boat behind my left shoulder in the photograph above called 'Starlight'. You can click on the photo to enlarge it.


My love affair with Cadgwith came about as a result of a poem by Lionel Johnson, which intrigued and entranced my father, and made him keen to discover the cove for himself back in the 1960s. I quote part of Johnson's poem in the book.  


Cadgwith at low tide, from The Todden

Driftwood by Starlight was published in June 2021 by poet and publisher, Peter Thabit Jones, at The Seventh Quarry Press. Many, but not all, of the poems have coastal settings. In addition to Cornwall, these include Wales (I lived in Swansea for 20 years), Scotland (home to ancestors on my mother's side) and Suffolk (where I live now). If you would like to purchase a copy (£6.99 UK price), please click this link to The Seventh Quarry Shop (online).  

Monday, 14 June 2021

A Book in the Hand ... 'Driftwood by Starlight', my new poetry collection


To my great excitement, 'advance copies' of Driftwood by Starlight, my first full-length poetry collection, have reached my Suffolk home today. Here I am holding my first copy, trying hard to keep the 1- and 2-degree burns on my left hand out of the frame! 


Immense thanks are due to Peter Thabit Jones of The Seventh Quarry Press, who has enabled this wonderful day to happen. 

Driftwood by Starlight can be purchased from The Seventh Quarry Press online shop here.

Susan Richardson has generously written the back-cover blurb. The following words will give you a flavour of the collection ...





Saturday, 12 June 2021

Publication Day ... 'Driftwood by Starlight', The Seventh Quarry Press


I am excited and delighted to announce that Peter Thabit Jones of The Seventh Quarry Press in Swansea has just published my first single-authored poetry collection, Driftwood by Starlight. I am immensely grateful to Peter.

The book can be purchased from the online shop on The Seventh Quarry website - here

Fellow poet, Susan Richardson, has written the following words:


Laurence Hartwell generously provided the cover photograph of Cadgwith Cove on The Lizard in Cornwall, UK.  

As it happens, one of my poems in the collection, Elegy for Idris Davies, is currently a Poem of the Month on the SecondLight website here

Friday, 28 May 2021

'On a Knife Edge', a new anthology from Suffolk Poetry Society


This book has just been published by Suffolk Poetry Society as a response to the diminishing state of nature. It forms part of a collaboration between the Society and The Lettering Arts Trust (Snape), where an exhibition of the same name opens in July. I am delighted to have two poems and a micro-poem about IUCN red-listed species included. 

The topic resonates closely with Robert Macfarlane's work (supported by Jackie Morris and her artwork) in response to an increasing concern over the fact that 'nature words' (the 'lost words': see here) were being removed from the 2007 edition of the Oxford Junior Dictionary. Apparently space was needed for words deemed more valuable in a digital and technical age. You can read my post here about a previous exhibition at The Lettering Arts Trust on this subject. 

On a Knife Edge was primarily created by Derek Adams, Lynne Nesbit, Beth Soule and Colin Whyles. It can be purchased here.  

Thursday, 20 May 2021

Workshop on Columba by Alex Aldred, Poet in Residence, Historic Environment Scotland


Approaching Iona by CalMac ferry from Mull

The photo above brings back many happy memories of days on Iona, the small and very beautiful island where Columba is said to have landed with twelve followers in 563 AD.

David, who is a member of Historic Environment Scotland, mentioned that a series of creative writing workshops were being run on Zoom by HES to mark the birth of Columba 1500 years ago. I was keen to find out more and signed up for the first, which took place this evening on the topic of Columba, the Exile.   

Alex Aldred, Poet in Residence for Historic Environment Scotland, led the workshop, giving participants information on Columba, along with prompts for creative writing and time for the sharing of our ideas. It was a very enjoyable way to spend 90 minutes, and I have come away (so to speak) with a raft of enthusiasm, pages of notes and a couple of poems in draft.  

The workshop inspired me to revisit my Iona photos, taken on several occasions ...

The Abbey on Iona (2014)

Exquisite cloister carving by Chris Hall

Fabulous beaches on Iona

Crystal-clear water

The view from the ferry

Setting sail for Fionnphort, Mull

One of my abiding memories is of the colossal wave of wingbeats as the wild geese hurtled up the Sound. 

Of all the Inner Hebridean islands, Skye is the one I know best. It contains a small inland island named after Columba. It is a tranquil (if usually damp) spot, and a beautifully tucked-away corner of the Misty Isle.   

St Columba's Isle, Skye

Thank you, Alex, for an inspiring evening.

Friday, 14 May 2021

Marking #DylanDay 2021


Some of you will know that I lived in Swansea for twenty years, so #DylanDay is always an opportunity for me to remember visits to Cwmdonkin Park and Number 5 Cwmdonkin Drive (plaque above). 


I also like to recall carefree hours spent on the waterfront at Laugharne. You can see the Dylan Thomas Boathouse in the photo above and Dylan's Writing Shed perched somewhat precariously on the cliff in the photos below. 



There is often a Grey Heron on the shore, and not infrequently a Curlew or two.



This bird's eye view of Laugharne (below), with its tidal estuary, castle, boathouse and writing shed, brings back a number of particular memories, including a day when I attended a Creative Writing workshop facilitated by Aeronwy Thomas as part of the Laugharne Festival. 


The southern and western areas of Wales are not, of course, the only locations linked to the poet. Dylan visited New York on four occasions in the 1950s. I spent a few days there in 2012, enjoying a meal in Greenwich Village and the long elevator ride up the Empire State Building as the light began to fade. 


This year I am delighted to have a poem on Lidia Chiarelli's Immagine e Poesia #DylanDay website and also to have a letter addressed to DT and a poem in a new anthology called Dear Dylan, edited by Anna Saunders and Ronnie Goodyer, and published by Indigo Dreams Publishing. 

Dear Dylan is published today, and you can purchase a copy and read more about it here. I am looking forward to the 'Dear Dylan from the Birthplace' Zoom event this evening. 

Thursday, 13 May 2021

Looking Ahead to #DylanDay 2021 ... Immagine e Poesia


Tomorrow is #DylanDay (see here), so I wanted to post some photographs linked to the poet whose hometown of Swansea was also my home for two decades. The water fountain in Cwmdonkin Park in the picture above had a chained cup in the days of Dylan's childhood. 



The park is a riot of colour in spring when the tulips are in flower and the ornamental cherry trees are in bloom. 

Italian poet and Dylan Thomas aficionado, Lidia Chiarelli, charter member and co-ordinator of the Immagine e Poesia movement, has been busy assembling and curating a website of international writing and visual art to mark the day. 

I am delighted to have my poem, 'The Gothic Arch', posted on Lidia's website (do scroll down slowly and read the wealth of new contributions, though the easiest way to find my poem may be to scroll to the bottom here and then move the cursor up the page a little). My poem, as you will see, was written in response to a few words from one of Dylan's poems. 

The site also contains articles, such as one by Peter Thabit Jones on 'Dylan Thomas and Greenwich Village, New York', in which he ponders some of the fascinating 'what ifs' in relation to Dylan's short but extraordinary literary life. 

Do click over to the site and explore some of the features. 

Thank you, Lidia, grazie mille. 


* * *

Lidia informs me that the website event is sponsored by the Metropolitan City of Turin.
Here are the links to the Poets' and to the Artists' sections: the contributions are in order of arrival ...

- 48 Participating Countries on 5 continents










Wednesday, 5 May 2021

My Puffin Photograph on the Cover of 'Reading Between The Lines' by Neil Leadbeater

Littoral Press, £8.50

Those who follow my blogs, and perhaps particularly this one, will know that (in normal times) I enjoy watching Puffins as they move about on and off our coastal cliffs. I am thrilled to have one of my Puffin photographs on the cover of Neil Leadbeater's new poetry collection, published by Mervyn Linford of Littoral Press. David and I met Neil back in 2011 as fellow participants at Swansea's First International Festival of Poetry, organised by Peter Thabit Jones of The Seventh Quarry Press (Swansea) with Stanley H. Barkan of Cross-Cultural Communications (New York).

This fine collection includes poems rooted in a variety of rural (e.g. Tarr Steps), coastal (e.g. Aldeburgh) and urban (e.g. Port of Tyne) landscapes. A compelling sense of musicality pervades much of Neil's work, aided and abetted by a sprinkling of alliterations and allusions. I have been particularly enjoying the poem sequences ... and the Puffin poem, of course!  

P.S. This has also been posted on my Wild and Wonderful blog since the subject was relevant to both.    

Thursday, 8 April 2021

'A City Waking Up' by Sue Wallace-Shaddad (Post 3: Q&A With the Poet)


For those of you who have been following my mini-series on A City Waking Up by Sue Wallace-Shaddad, here is the continuation of my Q&A with Sue, constituting the third and final post of this mini-series. Subjects addressed include the collection and assimilation of material and the route to publication. Do read on.

If you missed Post 1, you can read it here.

If you missed Post 2, you can read it here


It would be helpful to know something about your approach in terms of assimilating and incorporating biographical and autobiographical material. I wonder, do you keep a diary? The ‘I’, of course, is always of interest to poets. 


I used to keep diaries in my teens and as a student, which might make a good source of inspiration if I dare re-read them! Recently, following advice on the Newcastle MA summer school, last year, I started keeping a journal but I have to say I have not as yet used that to inform my writing. I do make notes or even draft short poems on my iPhone quite often when out for walks during lockdown. Mainly I write from memory, in the moment. Of course, sometimes I research information to flesh out my ideas, usually doing a google search.


I have much appreciated your evocations of place and situation; when it comes to the crafting of your poems, what aspects are important to you? 


Most of the poems were written in situ in Khartoum so I was surrounded by my experience, the colours, sound, smell, taste and sight.  I would read some of the poems out to family as I wrote them. I was concerned that the poems should be accurate and always checked with family members about my use of Arabic. The visual is very important to me, having a heritage of painters in my family. I like to say I am painting with words. When I first wrote the poems, I was not experienced in making decisions about stanza length and form. The final shape of several poems was crafted only just before submission and even after that in one case, thanks to my very helpful publisher Janice Dempsey. I use rhyme from time to time and that comes naturally as I write, so I also included a few poems with rhyme.

More generally I would say that I like to be succinct in my poems so the words need to carry a lot of heft, emotionally and visually. I have become much more aware of how assonance and internal rhyme contribute to poems; some of that is instinctive but once I have seen a pattern I develop that further. 


How did you go about finding a publisher and what have you learned about the road to poetry publication?


I knew that Dempsey and Windle had published ‘Sprouts’ by Alexandra Davis in 2017 – Alex and I had previously done a course together with Rebecca Goss. Alex had had a good publishing experience. Derek Adams, a fellow committee member of Suffolk Poetry Society also had his pamphlet ‘Exposure’ published by them in 2019. So I thought I might be in good company if I got published! I had submitted a single poem to their annual competition which was commended and published in their 2020 anthology, which was encouraging. I had also chatted to Janice Dempsey at the Poetry Fair in London so I knew a bit about the publisher. I was not sure that my subject matter, Sudan, would necessarily be of interest but decided to submit to their submission window without any expectation. I was delighted to be accepted and have my short collection ‘A City Waking Up’ published only months later on National Poetry Day 2020.

I have submitted pamphlets in the past to other publishers but looking back, I can see that I was doing this too early. The poems were not cooked enough and the arc of the pamphlet was not in place. I am hoping that new submissions will be stronger with my greater experience. It is definitely good to get to know the editors which might be by going to readings they organise, doing poetry reviews, noticing who gets published by which publisher, keeping up with Twitter etc. My first publication ‘A Working Life’ was in fact self-published in 2014, another route, which I may still go down again, particularly when it comes to an ekphrastic set of poems which would benefit from the images alongside.


You wear several proverbial hats, including the one assigned to the Secretary of Suffolk Poetry Society. How do you go about fitting the writing and editing of your own poems into your schedule? Do you draft in a particular pen or notebook, or have a particular working space and routine? 


I don’t have a routine as such, but tend to have more time to write towards the end of the week and at weekends.  My poems get edited at my computer which is by a French window looking out in to garden and park, so I enjoy that light and space. It helps if I have a complete morning or day free of other commitments. Some days I will be doing organisational matters, other days writing poetry reviews so it is always good to then spend time on my own poetry.

I partly decided to do the MA in Writing Poetry to help me structure both my reading and writing. Now that is finished, I am not quite settled into a structure. I often read poetry as I walk. I find movement helpful and we are not on trains much at present! Doing submissions gives me deadlines which can help write new poems and improve older ones. I also take part every year in the national poetry writing month in April and that creates a discipline – I am trying to write a poem every morning.

I always write very quickly, usually in a spiral ‘Reporter's Notebook’ and then start the editing process as I transfer the text to the computer. I leave the poem for some time before returning to see what needs reworking. I like to use a ‘Papermate’ ballpoint pen as it is very free flowing and suits my style of quick writing.


Sue Wallace-Shaddad

I would like to express my gratitude to Sue for sharing so much information in these posts about the creative process, and about the writing of A City Waking Up, in particular. Thank you, Sue!



A City Waking Up was published last year by Dempsey & Windle


The book costs £8.00 and can be purchased here by PayPal (UK) or by contacting the poet (international and other orders).  


Sue's website can be found here.  

Wednesday, 7 April 2021

'A City Waking Up' by Sue Wallace-Shaddad (Post 2: Q&A With the Poet)


Sue Wallace-Shaddad with A City Waking Up

Welcome to Part 2 of my mini-series on A City Waking Up, a recent short collection of poetry by Suffolk-based poet, Sue Wallace-Shaddad. 

If you missed Part 1, in which I offer my initial thoughts on Sue's book, you can find it here

I thought it would be good to ask Sue about her practice when it comes to writing poetry. I also felt it would be interesting to learn a little more about the background to her book, so I asked her to answer a few questions. I will share some of her responses in this post and I will post a couple more tomorrow.  



Q & A


Sue, when and how did you first encounter poetry in a way that made you appreciate its power, and who are (say) three of your go-to poets these days?


My mother kept a poem I wrote aged 12 so I clearly had an interest in poetry early on. As I child I was very fond, and still am, of RL Stevenson’s A Child’s Garden of Verses. The musicality and visual nature of the poems have really stayed with me and recently I used lines from this in a poem. I bought myself the selected poems of TS Eliot for my 16th birthday which must have been a sign of the future! As a 21-year-old student at university, I was very struck by Edna St Vincent Millay’s ‘Renascence’ and copied out a stanza into my first poetry notebook.


Three poets that I have particularly enjoyed reading recently have been Arundhathi Subramaniam with her rich Indian heritage, Rachel Boast with her use of astronomy-related imagery and Abeer Ameer who draws on her Iraqi heritage. But there are many more including Imtiaz Dharker, Raymond Antrobus and Seán Hewitt.



Perhaps you could tell us briefly how these particular poems came to be written; as a Newcastle alumna myself, I would be interested to know if they were part of your Newcastle University/Poetry School (London) MA? I wonder how much your international career contributed to these texts.


I have been visiting Sudan for over 40 years to stay with my husband and his family but had never written about Sudan. On retiring from the British Council in 2014, I decided to devote my time to poetry, so it made sense to me to start writing about my experiences during a visit there in the summer of 2016. Most of the poems were written then but the final set were written in the UK at the time of the political protests in Khartoum January – April 2019. I had been sending poems for peer review since 2016 to poetry friends and also to Helena Nelson, Happenstance Press, who, at the time, offered a feedback window twice a year. The learning I gained from the Newcastle/Poetry School MA (2018-2020) also fed into editing and sequencing decisions, particularly at the submission stage, but the poems were not directly part of my MA course and my tutors had not seen any of them!


I think the fact that I have had an international career with the British Council must feed into how I view the world and how I write, hopefully with sensitivity, about another culture. But the poems spring from my personal life and how I have engaged with my Sudanese family over the years.

My thanks to Sue for sharing these thoughts with us. Please keep an eye out for Part 3 of this mini-series, which I plan to post around noon (UK time) tomorrow. 

A City Waking Up was published last year by Dempsey & Windle. The book costs £8.00 and can be purchased here by PayPal (UK) or by contacting the poet (international and other orders).  


Tuesday, 6 April 2021

'A City Waking Up' by Sue Wallace-Shaddad (Post 1: Mini-Review)


I am delighted to welcome Sue Wallace-Shaddad as my guest poet for this mini-series of posts. Sue and I both live in Suffolk and have known each other for nearly a decade. Sue is Secretary of Suffolk Poetry Society.


Sue Wallace-Shaddad


Following the publication of Sue’s poetry pamphlet, A Working Life, Sue had her first short collection, A City Waking Up, published last year by Dempsey & Windle. The book costs £8.00 and can be purchased here by PayPal (UK) or by contacting the poet (international and other orders).


Sue has been visiting Khartoum since the 1970s, and has recently begun to draw her poetic inspiration from the city itself. Khartoum is not only the place at which the Blue and White Nile converge; but also, as Paul Stephenson points out, the ‘Meeting Point’ (the title of Sue’s opening poem) at which so many aspects of Sudanese life, not least ‘city and countryside’, come together against a backdrop of tradition and fast-moving political change.


First impressions are important, and the glossy cover photograph, taken by the poet herself, invites the reader into this sun-baked land as day begins. Sue’s poems are often tight, and not infrequently short in length, which means that each piece has been given what I might call its own space in which to breathe. The glossary of Arabic words at the back of the book is brief and helpful. The Arabic words for food items in the poem Al fatur – Breakfast add a sense of the exotic to a piece that is almost a list poem.


Sue’s palette is a colourful one. In a few deft strokes, she conjures up cameo after cameo before the eyes of her readers; take for example her vision of Sudan in the early morning. Pastel-green houses, we discover, dot the khaki landscape, scattered like fresh mint. I am drawn to the poet’s description of pyramids of cucumber, tomatoes ready to be sold (A City Waking Up, p.10). Sue’s images are crisp and visual, but we are also invited to experience Khartoum via the senses of hearing (‘unseen ghosts screech into life’), touch (‘the desert smothers us in its sticky embrace’), smell (‘the scent of pink grapefruit lingering in the air’) and taste (‘Feta, hard squares, salt to the tongue’).


I have barely scratched the surface as I hope you may choose to encounter Sue’s poems for yourselves. I have not, for example, included comments on the narrative elements of the wedding and its feast, or on the very real sense of danger surrounding the 2019 uprising.  


You can listen to Sue reading three poems from the short collection here on her Wordpress site. To whet your appetite further, Sue will answer some questions about her poems and writing practice in my next post. Please stay tuned!  


Wednesday, 31 March 2021

Online Launch of 'Locked Down' Anthology, Edited by Susan Jane Sims

Click on the pictures to enlarge the images

I have already mentioned Locked Down, the new Poetry Space anthology, edited and produced by Susan Jane Sims. I have a poem in the book, and 'attended' the first online launch yesterday evening. It was good to spend a thought-provoking couple of hours in the company of others who had also submitted work arising out of the pandemic. Thank you, Sue, for the evening and for the chance to read.

Yesterday's reading made me want to look out a couple of old photos linked to memories that had fed into my writing. The poem I submitted, a villanelle (which I used as the form lends itself to emphasis), is called 'Wildfire', and attempts to present something of the horror that lay before the eyes of the Younger Pliny in 79AD. I will leave you to draw your own metaphorical conclusions in terms of its relevance to our situation today.

Back in February 1986  David, my archeologist husband, and I were living in the British School at Rome. David's research took him south to Sicily, and I was able to accompany him on this expedition. Naples was our first stop. Rome had been caught somewhat off-guard by an unusual second winter of significant snowfall; as we left the city, snowploughs were being dusted down, ready for use. We were glad to be heading for warmer climes. 

Naples, however, was excruciatingly cold. I had not expected to find Vesuvius coated in snow; you can just about make it out behind the statue at the back of the left photo. By the time we set foot on Sicily a couple of days later, the sun was shining brightly on Mount Etna. We shed our jackets, hats, scarves and jumpers and were soon enjoying gifts of elephantine oranges, dripping with juice. 

Something felt odd, though; I could not quite believe how cold the Naples area had been. I had always associated Pompeii, Herculaneum and the places around Vesuvius with heat, intense heat, and burning volcanic ash. And of course, I had been round the sites, witnessing the deadly effect that these sweltering and suffocating forces of nature had inflicted on the people and their dogs, as shown in my second photo. Perhaps this sense of 'oddness' or 'other-worldliness' is what triggered the poem. 

* * * 

Do consider buying a copy of Locked Down. It contains 'poems, diary extracts and art' and bears witness to the extraordinary events of 2020. The anthology is being sold in aid of Dr Mark Sims' fund for Cancer Research UK.