1. What's the best poem / poetry collection you've read in the past 12 months?
‘My Name is Abilene’ by Elisabeth Sennitt Clough is right up there with a few special others at the top of my pile. I was lucky enough to be asked by Liz if I would provide an endorsement for the cover, and having published two of her previous collections (‘Sightings’, 2016; and ‘The Cold Store’, 2021; both Pindrop Press), I knew this one was going to be stunning so said yes. It’s inventive, lyrical and continually surprising – a layered exploration of how a woman survives when pushed too far. That it was shortlisted in the Forward Prizes 2023 Best Collection was no surprise.
2. Which poetry collection should be on everyone' s nightstand?
I think no nightstand is complete without an early collection of Billy Collins, former US poet laureate. ‘Taking Off Emily Dickinson’s Clothes: Selected Poems’ would be my choice. His accessibility draws you in and then bam! he hits you with an image that throws you to the ground and has you gasping for breath. He is also laugh-out-loud. Anybody who has ever attended a writing workshop, let alone taught one, should be forced to read his poem ‘Workshop’ before their next.
3. What's the best writing or poetry tip you've ever gotten?
Gosh, that a hard one. Possibly – and this is an amalgamation of various suggestions I’ve heard over the years – to remember to stay true to our voice. It’s easy when we have mentors and tutors and peers all giving feedback on our poems to think that they are probably right and to edit accordingly. But I have found there’s huge satisfaction in listening to wise words of advice, saying thank you, and then going off and doing my own thing. Sticking up for a hunch. Giving what I want to say as much credence and respect – no, more – than the opinion of someone else no matter how well qualified they might be.
4. Which poem of yours are you particularly proud of? And why?
There’s a poem in my recent collection, ‘The Last Woman Born on the Island’ (Vagabond Voices, 2022), called ‘Light’s Tricks’ that I’m very fond of. It was one of these poems that wrote itself, I had the first draft down in about 20 minutes and it didn’t change a lot after that. I like it because it feels far- reaching in its scope and it’s very honest. It feels authentic. But I’m probably most proud of it because I don’t feel like I had much of a hand in its writing – it came into this world all by itself. My little immaculate-conception baby.
5. Which poetic form would you like to try out some time?
I always thought I was allergic to traditional forms, but on an online Poetry School course last year, I had to write a villanelle. At first I railed and huffed. But when I actually got down to the task, it was such fun. The light didn’t so much go on, as illuminate the whole cellar. The next big beast would be the sestina, I guess. But I’ll have to be forced. I work well under pressure. It’s that gap between what you don’t want to do, and the hand of external pressure, where I reckon some of the best work is made.
