I’m delighted to welcome back poet, Margaret Royall, to Patricia’s Pen. This time to discuss her upcoming poetry collection, Toccata and Fugue with Harp to be published by the very awesome The Hedgehog Poetry Press. Without further ado, it’s over to Margaret.

A personal perspective on my poetry collection

‘Toccata and Fugue with Harp’

Margaret Royall

Following on from the success of my memoir of childhood, The Road to Cleethorpes Pier, published May 2020 by Crumps Barn Studio, I realised I had only told a fraction of the story and had many more memories to explore. Requests came in for a part two and I put pen to paper again delving into the recesses of memory’s deeper…. and darker… vaults. This time I was determined to deal with the challenging side of childhood, adolescence and young adulthood, by exploring the age old question ‘which has the greater influence upon our development from child to man/woman, nature or nurture?’

In the  ‘Toccata’ section I write about early years. My  postwar upbringing was very different from contemporary times. It was a time of austerity, ration books, a period which saw the nation start to recover from World War 11 and saw the introduction of the NHS. At home we had none of the household appliances deemed essential today, no fridge, washing machine or TV. School and church were the dominant factors in a child’s life back then. School was a strict regime, where teachers ruled with a rod of iron and misbehaviour was swiftly dealt with by corporal punishment.

My parents were devout Methodists, very involved with our local chapel and I was there most days of the week. It was a strict regime with a lot of prohibition, including a no alcohol rule. Drink was the Devil’s elixir and to be avoided at all costs. I was encouraged to to ‘sign the pledge’ age six, vowing never to touch a drop of alcohol in my life! Yet I had no real understanding of what this meant. We were even told not to put vinegar on our chips, as this was a fermented substance too.

The Intermezzo section of the book addresses my discomfort. As I grew older I appreciated the folly of some of these rules and once I escaped to university I could choose my own path in life. I saw the bigger picture, especially in London in the swinging sixties. There I could be whoever I wanted to be, do whatever I fancied, but on visits home I found being back in a parochial setting challenging. My parents were extremely loving and had always striven to do their best for me, providing me with opportunities to pursue ballet and music classes. Yet I had felt as an only child the burden of expectation weighing heavy on my shoulders. I had to do well, be competitive, make them proud. My parents sometimes lived their lives vicariously through me and it was stressful. I often felt like an outsider looking in on life from the periphery of a circle.

The final Fugue section brings things up to date and celebrates the joys of my life now in my third age. I love my quaint cottage in a small rural Nottinghamshire village and enjoy strolling in nature. This is documented in the long walking meditation poem at the start. Since music and colour have always been dominant factors in my life, the poems in this section each have a suggestion of a piece of music and an artist’s colour to accompany them.

My final conclusion is that nature and nurture probably played equal roles in shaping the person I have become.

If you’d like to find out more about this wonderful collection, please visit Margaret’s website HERE.

About Margaret Royall

Margaret has six books of poetry. She has won or been shortlisted in various competitions and widely published. She was recently chosen as an Erbacce Press featured poet. She has three books forthcoming in 2024 with Hedgehog Press, Dreich and Impspired.

Links

Twitter

Instagram

Website

Please join me in congratulating Jen Feroze on the launch of her debut poetry collection Tiny Bright Thorns published by Nine Pens Publishing.

Jen Feroze’s debut pamphlet ‘Tiny Bright Thorns’ charts the magic and madness of early motherhood. Shot through with sea and sky, wonder and terror, these unflinching poems explore themes of love, doubt, growth, loneliness and the sudden shift of identity that comes with the birth of a child.

Tiny Bright Thorns begins rooted in the domestic, but slinks out among forests of foxes, flames a triumphant sunrise on a beach, has an argument with a Salvador Dali painting and finds whales swimming among the stars.

“Tiny Bright Thorns is a love-song to the tender, fierce and ‘tar-thick’ days and nights of early motherhood, the ‘feathered cries of the new’. Rich in startling imagery, open-hearted and often movingly truthful, these poems shine – a ‘beacon’ passed from ‘mother to mother to mother’. How I wish I had read them as a new mother myself navigating those perilous, unmoored early weeks. Jen Feroze writes with grace and humanity of the ‘herbaceous bite/ of exquisite and terrifying love’ in all its forms and the power of imagination to connect us all.” – Sarah Westcott.

About Jen Feroze

Jen Feroze lives by the sea in Essex. A former Foyle Young Poet, her work has appeared in publications including Under the Radar, Poetry Wales, Magma, iamb, Butcher’s Dog, Berlin Lit, And Other Poems, Okay Donkey and The Interpreter’s House. She has edited anthologies for Black Bough Poetry and The Mum Poem Press, and she was a winner of the 2022/2023 Magma Editors’ Prize. Find her on X @jenlareine and on instagram @the_colourofhope.

ORDER YOUR SIGNED COPY

BUY FROM NINE PINES PRESS

Our guest feature today comes from poet, Desmond Childs. Des has come along to share his poetry journey so without further ado, it’s over to Des.

My Poetry Journey

Desmond Childs

My interest in poetry first developed during a school English class at the age of fourteen in which we were required to write a poem. I wrote a poem called ‘Time’ which was later published in the school bulletin. Since then, I’ve written poetry in my spare time, finding it to be an outlet from the pressures of everyday life and fulfilling my need to be creative. This also led me to start reading some of the historical poets such as William Blake, Emily Dickinson and Edgar Allen Poe all of which I admire. Later, I started to read more contemporary poets such as Frieda Hughes, and I found her collections Wooroloo and Alternative Values inspirational in my own work.

In more recent times I’ve joined the Hog Cult at the Hedgehog Poetry Press and find the poets there to be the mainstay of my reading, which has led to the development of me as a poet.

I like to write poetry based on real life experiences and the intricate complexities of life with a little added essence of melodrama and fantasy.

Working with Mark Davidson and the poets at the Hedgehog Poetry Press has led to my poetry being published in anthologies such as my poem ‘Bedlam’ in The Bestiary of the Night, and more recently my debut poetry collection The Vagaries of the Heart by The Hedgehog Poetry Press.

BUY

“The Vagaries of the Heart is the debut collection from Desmond Childs and beautifully explores Love with gentle musicality in word and cadence, exploring shade and fracture in relationship in all of its petal-scented form.

This is a delightful collection and one that you will treasure from a poet who be-guides as well as beguiles.”

The Vagaries of the Heart is due to be released 31^st July 2024. However limited edition copies are available to order via Desmond’s website from now.

Here’s the opening poem to the collection.

About Desmond Childs

Desmond was born in Birmingham in 1958 moving to Lichfield in 1959 at the age of 9 months, where he now lives with his wife and youngest daughter and their two dogs. His favourite pastimes are working in his greenhouse and garden, walking his two dogs, and reading and writing poetry. His poetry has been published in anthologies by Hedgehog poetry press, The Vagaries of the heart is his debut collection also published by Hedgehog poetry press. Desmond works for the local Authority as a garden/groundsman and is due for retirement, which he intends to spend gardening and writing poetry.

Links

Website

Twitter

BUY

It gives me great pleasure to welcome back my dear friend, and talented poet, Damien B Donnelly to Patricia’s Pen. Without further ado I’ll hand over the reins to Damien and Coming Back to the Garden.

Coming Back to the Garden

Damien B Donnelly

Recently, I completed a Garda (police) Vetting form for a job, requiring you to list all the places you’ve ever lived, all those rooms and walls and drawers you turned into houses, hung pictures, stored all the things you never use but can’t release. My list covered 48 years and 19 so-called homes, houses, shelters and pit stops. It made me reflect on the word home – how had each one attached itself to me as I unfolded beneath their roofs, behind their doors? Did I turn them into what I needed or did they transform me into something to fit within its dimensions?

I’d been moving since before I had a hand in its decision. Born in 1975, in a mother and baby home in Dublin and adopted three weeks later, having been housed previously in the fold of a girl who hoped for me a better life

When you make the decision to leave home, to leave your birth country, as someone who’s adopted, that origin story weighs in on that decision. Even though I knew it as a positive tale, a bedtime story of being chosen, for me there was a sense of having already been given up, been released, been let out into the wild world where the ties already cut. I was just waiting for the day to slip away.

Perhaps one of the most significant poems in this collection is To Find Out What Lies Beyond the Scent of Lavender. I now live in a cottage on the edge of Dublin built for my great grandparents in 1904 and spend a huge amount of time tending the garden – digging, chopping, identifying the roots of flowers planted by my mother, grandfather, probably great grandparents. And yet, the closer I get to their roots, the further I come from my own

When I left Ireland in 1997, having already gone through a string of flats and bedsits in Dublin, I spent 25 years in Paris, London, Amsterdam

but, after 20 years of boats, barges and seasonal relationships, I ended up in Paris again, thinking I was done moving. I returned, thinking the city would have changed, moved on, adapted and it would take time to rekindle our relationship. Silly for me to think like that about a city who hasn’t changed in 500 years. Paris was born a stubborn adult, dressed in Chanel attire, a proud, free-thinking, free-spirited grown-up, her raison d’etre – herself entirely. What transpired was a realisation that while she was the very same, I was nothing like the wide-eyed innocent 22-year-old who’d discovered my own self beneath her shadows at the end of the 1990’s

When I eventually came back to Ireland, I thought it would be a simple homecoming, lost boy returned after a visit to Neverland, second star to the right and straight on till morning, only 25 years later. I’d gone out to see how far I could go – how much I could stretch before being pulled back in

but as I began to unpack my far-acquired treasures, I realised not everyone had taken flight. I had to be careful, selective about what I took out of the case

Speaking of unpacking, I moved into the family home on my return, a 2-bedroom cottage I’d never lived in, aside from summer holidays with grandparents as a child. 25 years is a lot to unload in a tiny bedroom and, at 45, you’ve a lot to unload. Prior to moving back, I’d agreed to stay for a few months to make up for being away so long but little did we know that 3 months later Covid would lock all the doors without asking permission. From a 5th floor walk-up in Paris, too small to hold anything non-essential to a 17-floorboard wide bedroom far from any city street. I was no longer the shy, confused 15-year-old kid who’d slept in that room, petrified about turning off lights at night, about the sounds, inside and out. Now, here I was in the room again, having outgrown the length of the bed, with many other sounds from many other places in my head, regardless off the lights being on or off

The collection is controlled by the tides, its repetition, how each time it comes in it changes the landscape, brings things in from the ocean, deposits them on the shore while taking much more back out with it, never to be returned again. Similarly, there are tales here, stories of people going out and coming back, trying to find ways out of places, situations and even skins that didn’t particularly suit them

At other times, people come back unexpectedly and have to swallow all the hopes and dreams they left with, having vowed to never return

One of my reasons for coming back was something I hadn’t thought about it – literally being Irish. I’d come home for a holiday the previous year, headed to Connemara for a week. On my return to Paris and work, I told my colleagues  ‘Oh my goodness, the Irish are amazing, so warm and friendly and helpful’ and they all replied, ‘mais oui Damien – comme toi! But yes Damien, like you!’ But I insisted ‘no, not me, I’m talking about the Irish’ and they said the same thing again and I again protested until I stopped and realised they were right! All this time I‘d been running from a core part of myself, living in Amsterdam and Paris where, on average, folks were a little less full of the charms of life. Suddenly I thought, what am I doing here with all these pessimists and off I went! It’s not that Ireland is full of musical theatre singing paddies in caps on streets waving rainbows while St Brigid romances American Lohans but we’re a chatty bunch, we do our best to answer a question if someone is lost and even if it’s a wrong number an effort is made to put them on the right line again.

When I finally thought about all these places I’d lived in, unpacked those boxes under and over – London, Amsterdam, Paris and all the other layovers in between, always looking for things,  perhaps what I was looking for was back at the root. One of the first things I had bought myself in Amsterdam was a bike, an emerald green, second-hand bike

~~~

Thank you so much Patricia for the opportunity to share these considerations in relation to my new collection and for all she does to promote the literature community.

It was an honour, Dami. Thank you for trusting Patricia’s Pen with your words and may I take this opportunity to thank you for all you do in supporting the poetry world.


Back from Away was published by Turas Press on 8^th May at the Irish Writers Centre in Dublin, alongside Emma McKervey and her new collection Highland Boundary Fault.

Damien will have a zoom launch on the 26^th May 2024 at 7pm GMT. Back from Away is available to order from Turas Press website.

About the Author

Damien B. Donnelly is the award-winning author of the poetry pamphlet Eat the Storms, a Stickleback micro-collection and the conversational pamphlet In the Jitterfritz of Neon, co-written by Eilín de Paor and his first full collection Enough! all published by Hedgehog Poetry Press. He’s the host & producer of Eat the Storms, the poetry podcast and editor-in-chief of The Storms, a printed journal of poetry, prose and visual art. His work appears in various journals, online and in print. Back from Away is his 2^nd collection.

Other books by Damien B Donnelly

Links

Website

For all things Storms, podcast and journal, check out

Twitter (X)

BUY

BUY

Please join me in congratulating Julie Stevens on the launch of her latest poetry collection Journey Through the Fire published by The Hedgehog Poetry Press.

The poems in Journey Through the Fire speak of a troubled childhood with domineering parents and school bullies. Later, the years are plagued with chronic illnesses, that in time helps lead to a reconciliation.

BUY

About Julie Stevens

Julie Stevens writes poems that cover many themes, but often engages with the problems of disability. She is widely published in places such as Ink Sweat & Tears (Pick of the Month, Oct 2021), Broken Sleep Books, The Honest Ulsterman, Strix, Fly on the Wall Press and Indigo Dreams Publishing. She has four published pamphlets: Journey Through the Fire (2024), Step into the Dark (2023) and  Balancing Act (2021) with The Hedgehog Poetry Press and Quicksand (Dreich, 2020).

Links

Website

Twitter

Our guest feature today comes from author Sarah Scally. Sarah has come along to share her writing journey so without further ado, it’s over to Sarah.

My Writing Journey

Sarah Scally

Thanks for this opportunity to appear on Patricia’s Pen, to talk about my writing journey.

I’ve been writing stories for years and kept them all in a drawer, never for them to see the light of day!! The (long!) route to publication really began for me in 2013 when I took part in a ‘writing for radio’ course and I absolutely loved it. I decided to enter an idea for a radio play competition which was being run locally – and couldn’t believe it when I was chosen as one of two winners. The play was about a group of mismatched ramblers and the adventures they got up as they walked along the south coast. Once the radio play aired, I kept thinking about the characters and what they could get up to, so I decided to continue their story.

In 2019 I joined the Romantic Novelists Association (RNA) and was thrilled to be accepted into their New Writing Scheme (NWS). I submitted the manuscript to the scheme, then rewrote large bits once I’d received the feedback, resending it the following year.

BUY

In between, I sent it to the Comedy Women in Print competition (CWIP) and was longlisted for their unpublished category, which was all very exciting! I then put it in a drawer and started another manuscript, the second in the series. I repeated the process, putting it through the scheme again and then once the feedback was good – again, two years later – I began to wonder what to do with them. I had sent them off to some publishers and had received some requests for the manuscript, but it had fizzled out. Then, during lockdown, I joined a webinar about self-publishing, and decided to give that a go – and here we are, with my second book published on 4^th April!

BUY

I quite enjoy self-publishing as I get to be in full control of all aspects of the process – but likewise, I am responsible for all of it, and sometimes I wonder if it would be nice to bounce ideas around with others. I am slowly, however, finding my tribe of other authors and fab people who are willing to help me, so I see it as a long term, learning process which so far *touches wood* I am enjoying.

About Sarah Scally

Sarah Scally lives on the south coast of the UK and works for the NHS.

She has written in a freelance capacity for magazines and business journals and writes scripts collaboratively with two friends.

In 2013 she won a competition to write a 45-minute radio play. This play became the novel The Postcard in the Window and in 2020 it was one of twelve manuscripts longlisted for the Comedy Women in Print prize (CWIP) for an unpublished novel.

Sarah has now self-published that novel with the second, It started with a shoe, published 4^th April 2024.

Links

Facebook

Twitter

BUY

BUY

Please join me in congratulating poet, Rachel Deering, on the launch of In the Shadow of Gods, published by Black Bough Poetry.

‘Deering’s powerful chlorophyll- and clay-dipped collection shows us how to read the leaves and the ripples, how to speak with feathered and tree-abiding lives, to see, almost as if with the lightning rod of divine inspiration, that ‘it is always about love’. This is a book to surrender to. In the hands of a master word-conjurer, you will be carried by its ‘watermagic’. This is poetry as theophysics, rendered with the precision of a scientist and the furor of a visionary. A tremendous and vital collection from a breathtakingly skilled and assured voice.’ Chris Laoutaris, Associate Professor at The Shakespeare Institute and author of Bleed and See (Broken Sleep Books) and Shakespeare’s Book (William Collins).

‘Reflecting our journeys and departures, Deering’s imagery and language sings of the growth replicated within nature and humanity offering a reclamation of our landscapes through deft metaphor and an inventive perspective conveying the dangers and delights of daring to live within life’s contradictions. Each piece creates a sensory realm exploring our bodies and desires, our weaknesses and will for agency; the power of the feminine threads itself through each section with Deering’s inimitable ecological voice. And, while ‘everything has a conclusion,’ from these ends come beginnings – there is a true sense of hope vibrantly alive in these necessary poems.’ Louise Machen, award-nominated writer.

BUY

This is a Forward Prize nominated collection by Black Bough Poetry and the fourth individual collection they have published.

I’m delighted to introduce poet, Lawrence Moore, to Patricia’s Pen. Lawrence is sharing his poetry journey so without further ado, it’s over to him.

My Poetry Journey

Lawrence Moore

Hi, I’m Lawrence Moore and I’ve been writing poetry most of my life, but in 2018, I became more committed to the art of poeming, and have been rewarded with a series of friendships and adventures ever since. Perhaps my most distinctive creative trait is my love for musicality and flow. Meaning and self-expression are very important to me, but I often let the shaping of a poem be led by the sounds and rhythms that bring me most pleasure.

I often make use of crypticness and phrases with multiple interpretations, partly because it enables me to say things I might not otherwise be foolish enough to say, but also because I quite enjoy being mysterious. That said, I value candour highly and consider my poems to be rather accessible as poetry goes, because that’s what appeals to me as a reader.

In early 2022, I released my first chapbook Aerial Sweetshop with Alien Buddha Press. Dedicated to my late Dad, a passionate model aircraft enthusiast, it featured many flight themed poems. Moreover, I used the metaphor of flying to thread together various other subjects I wished to visit, a prevalent one of which was love. Along with hope, love is a matter never too far from my creative mind.

I began work on my next ‘big project’ in a similar way, this time weaving poems connected by adventure, misadventure, the natural world and the fantastical. Appropriately enough, they led me to The Breadcrumb Trail, my first full length collection, produced by illustrator Jane Cornwell via Jane’s Studio Press.

This partnership has been immensely beneficial, with Jane immediately getting on my wavelength and weaving beautiful threads of her own to reinforce mine. The result is something more cohesive, and also more special to me, than I ever could have achieved on my own.

As I have said, it is a book of adventure and misadventure, of compliments and of juxtapositions, so I shall leave you with the following two poems, which I think give a hint of what lies in store, should you decide to wander the trail.

Buy a copy of The Breadcrumb Trail on the following links.

BUY Amazon (UK)  BUY Amazon (com)

About Lawrence Moore

Lawrence Moore has lived in the coastal city of Portsmouth, England since birth and shares a house overlooking Kingston Cemetery with his husband Matthew and their nine mostly well behaved cats. A firm believer in environmentalism and animal welfare, he spent many teenage days involved in protesting and direct action. His poems have appeared in publications including Sarasvati, Feral, Fahmidan Journal, Green Ink Poetry, Dreich and The Madrigal. He previously released a debut chapbook, Aerial Sweetshop, with Alien Buddha Press in January 2022.

Links

BUY (Amazon UK)   BUY (Amazon com)

Twitter (X)

Instagram

BlueSky

Website

Back in 2015 after losing my Mum I embarked on an MA creative writing course to help overcome the huge void. As part of the MA our group was offered the chance to visit Bucharest and see how other MA creative writing students worked. Unfortunately not long after arriving I broke my hip. I’m sharing my story in the public domain for the first time on Fred’s Blog. Pop over HERE if you’d like to read it.

I’m delighted to introduce poet, Sue Finch, back to Patricia’s Pen. Sue is here to chat about her new release, Welcome to the Museum of a Life. Without further ado it’s over to Sue.

Welcome to the Museum of a Life

Sue Finch

Thank you so much for inviting me to talk about how my second collection, ‘Welcome to the Museum of a Life’, came into being.

I was eager to have a second collection of poetry almost as soon as the first one was finished. I kept a list of poems that I thought people would enjoy reading, but I was not entirely sure at first what was pulling these poems together.

When my poem, Museum of a Life, was published by Out on the Page in 2021, I recorded a reading of it and realised it was one of my favourite poems. It was written as a result of attending an Arvon online writing week with Caroline Bird and Richard Scott and I can clearly remember that wonderful feeling of being in the flow of writing when I was working on it. This is the original version of that poem which was then adapted for my book when I worked with Black Eyes Publishing UK.

MUSEUM OF A LIFE

Exhibit A: the bath where she was made to wash by her
first lover.

Exhibit B: the shower where she was lime-soaped by
her second.

Exhibit C: an unwritten postcard from Herm where she
floated in the bay laughing with her third.

Exhibit D: dinner plate of sliced tomatoes kaleidoscoped
with red onion rounds, drizzled in olive oil. Photo,
France.

Exhibit E: white bread roll. origin, Las Vegas.

Exhibit F: Barcelona street map displayed here in the
front pocket of the rucksack she wore against her
breasts to minimise the risk from pickpockets.

Exhibit G-I: the green carnation, the dropped pound
coin and the fucking hostile badge from the blind date
with the woman who went on to become her wife.

Exhibit J: the stars she couldn’t believe she saw when
she tipped the bucket chair back so much she fell and
hit her head.

Exhibit K: the missed beat from the intro to the first
dance at her wedding.

Exhibit L: 60-watt lightbulb previously inserted into
her mouth while she pretended to be a lamp on a car
journey back from Whitstable.

Exhibit M: the orgasm she had while watching Wendy
James from the edge of the stage, Hammersmith
Odeon, 1989.

Exhibit N: yellow sailing trousers and blue t-shirt from
the Saturday night disco at Manchester Pride (year
unrecorded).

Exhibit O: the kitchen counter she leant on to tell her
Mum she was gay.

Exhibit P: her mum, who already knew, who had done
for years and wondered why she hadn’t said it herself
sooner.

Exhibit Q: snakebite and black from the bottom of her
boots the night she danced with Chris’s girlfriend.

Exhibit R: two Dolly Parton backstage passes and
associated Meet and Greet photos.

Exhibit S: a jar of Smurfs.

Exhibit T: Ronnie (cuddly toy and photogenic alter ego)
purchased Chester Zoo, 2002.

Exhibit U-V: black velvet smoking jacket and size 10
jeans.

Exhibit W-Z: this space is reserved for future exhibits.

When I was little my brother would let me in to his museum for a small pocket money fee. I liked looking at the shells and fossils and interesting finds he had gathered together there in his attic bedroom. He knew stuff about the exhibits. I liked the way they were laid out and the textures and shapes. I also liked spending time in his company and finding out what was new. Amongst the sharks’ teeth I think there was also a large dinosaur tooth of some kind. I remember the shine of the fool’s gold and of the mercury which we rolled across the lino to one another.

I really like some housework jobs, but I dislike dusting. This means that I choose to put the peculiar things that I collect in jars on my shelves so they are easier to dust. One night in lockdown I had a vivid dream where a large jar was being delivered to the garden so that my wife could exhibit me in it. I wrote the poem ‘Jars’ based on this dream.

So there has definitely always been a part of me that is interested in exhibits. (Mind you I am also very interested in the tea room and the gift shop when I go out and about visiting exhibitions.) The idea of having my own museum of artefacts entertained me and I found I could picture the whole museum. Fortunately when I sent this manuscript to my editor and publisher they liked the idea and we were able to work on it together.

It was good fun to arrange the poems into five galleries and to picture a gift shop at the end where visitors could purchase blue apples, inflatable ladders and wind-up plastic pelicans as souvenirs. Having a clear idea for the overall structure of the book, allowed me to put aside poems that didn’t fit with the theme and focus on a specific order for the work. The gallery of dreams brings together some of my favourite poems that emerged during the nights of lockdown and I like the way they are showcased together. During this time I really enjoyed my writing and I would wake up and go straight to my desk to write something down because I didn’t want the vivid images that had been in my mind to evaporate.

Damien B Donnelly calls this collection Daliesque and says I do peculiar well. I’ll take that.

About Sue Finch

Sue Finch’s first poetry collection, ‘Magnifying Glass’, was published in 2020 with Black Eye Publishing UK, and her second full collection, ‘Welcome to the Museum of a Life’, is due to be published in Spring 2024. Her poems have also appeared in a number of online magazines. She loves the coast, peculiar things and the scent of ice-cream freezers. ‘Vortex Over Wave’ was published in 2023 and features a selection of her #ElasticBandPhotos and poems for the full moon.

BUY

BUY

Links

Linktree

Twitter

Bluesky

Website