Launch Feature – Margaret Royall

Please join me in congratulating poet, Margaret Royall on the launch of her new poetry collection, Toccata and Fugue and Harp published by the awesome The Hedgehog Poetry Press.

Nature versus Nurture?

Reflections on growing up in the post war era, viewed through a lens of music and colour.

What others say

“How to compose a life in a single collection. Here, in the shadow of childhood strings, the walls hum with myth, magic, post-war tremors and religious oppression. Margaret’s ghost of youth, in search of escape, stomps its feet, speaks of the need to repress, to rage and most of all, to revolt. These are songs of the confessional, the confrontational, poems examining the child caught under the thumb, learning what to do with freedom when it’s found and later, as adult, learning about loss and the cost of scars. This is a bitter sweet cacophony that swings and sways from sermons to seductions, a Lincolnshire lass looking from the vase of yesterday’s rose, time travelling on the flap of a butterfly’s wing – fragile, frightening, finite, memories unspooling between Rachmaninoff and Creedence Clearwater Revival. Scores of truths, tastes and touches, notes that times has taken, tamed, and sometimes turned from hurt to a semblance of halcyon.” Damien B Donnelly, Poet & Editor

“I was delighted to delve into Toccata and Fugue which lives up to the title with its musical tone throughout. Margaret Royall skilfully wraps her memories in gorgeous imagery and sound echoes. Precious Jewellery, inspired by the colour amber and Beethoven’s Moonlight Sonata, held my immediate attention with its ingenious experimental form. Royall takes the reader back to her childhood and beyond. The collection is split into two parts making it easy to dip in and out of at any one time. Highly recommend this for any poetry lover’s bookshelf.” Patricia M Osborne, Poet & Novelist

“In Toccata and Fugue, Margaret Royall presents an inspiring collection of poetry that impressively describes the marvels and challenges of a fulfilled life in music and colours. These lovely poems are Margaret’s heartfelt invitation to join her on her exciting journey from a postwar childhood shaped by religion to the fascinating charisma in the third age. Toccata and Fugue deserves a place on everyone’s nightstand.” Dr Antje Bothin (PhD MSc), Writer & Poet

Toccata and Fugue is a memoir told through a series of anecdotes, in which we as readers are allowed the freedom to fill in the spaces. In these poems Margaret Royall takes us vividly back in time. She shows us scenes from her childhood and youth, along with a few from later years, giving us glimpses not just of what she sees and remembers of what happened then, but also hints of how past events and relationships may have influenced who the poet later became and the choices she made. Dripping on toast, beach-side holidays, the scent of Pears soap and Devon Violets perfume, alongside images of caring, anxious, god-fearing parents trying to navigate a complex, changing world themselves, conjure up a 1950s childhood and beyond. Composed with the energy and humour of toccata and the interwoven themes of fugue, this collection offers a rewarding poetic insight into a life that seems both familiar and unfamiliar in the present day – and perhaps turned out quite differently than it once seemed it might.” Phil Vernon, Poet & Author

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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.

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Launch Feature – Desmond Childs


Please join me in congratulating Desmond Childs on the launch of her latest poetry collection The Vagaries of the Heart published by The Hedgehog Poetry Press

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.

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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.

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Guest Feature – Laura Theis

I’m delighted to welcome poet, Laura Theis, to Patricia’s Pen. Laura is celebrating the anniversary of her poetry collection, A Spotter’s Guide to Invisible Things. Without further ado it’s over to Laura to tell you all about it.

Happy Book Anniversary to A Spotter’s Guide To Invisible Things…

Laura Theis

I always feel like publishing a book is like a little time capsule – a snapshot of the things that I was grappling with at a certain point in time.

My very first book of poems, how to extricate yourself, came out in December 2020, in the middle of a worldwide pandemic’s hard lockdown, and just days after the sudden shocking death of a dear friend.


A Spotter’s Guide To Invisible Things contains everything I wrote in the three years since – and one of the ‘invisible things’ referenced in the title is a hidden undercurrent of grief running below the poems, even though many of them are about a search for wonder and myth and language and imaginary scenarios like a person crashing through my skylight, a surreal ride on a night mare, or matching with the sky on a dating app…

Now, A Spotter’s Guide To Invisible Things is approaching its one-year publication anniversary and time is showing off its ability for strange contortions again: so much has happened in this period – from the incredibly painful to the magical.

Very recently, I read a German translation of the opening poem of this collection while fighting back tears at another dear person’s funeral. But I also read from it on a Swedish Lake with wild roaming reindeer listening in during the Alpine Fellowship symposium, or in my friend’s fairy-light-glowing forest grove of a living room in Devon, or at an International Women’s Day Celebration in Hay-on-Wye, or at a wonderful festival for translingual writers in Graz.  I am so grateful the book exists and that I still get to share these poems – connecting with readers is always what makes me the happiest. Ada Limòn, a poet I fiercely admire, once said that ‘we write with all the good ghosts in our corner’ and I am so grateful for the truth of this.

Another thing that will always be special about this book is that my dear friend and favourite fine artist Rose-Marie Caldecott has been creating work that speaks beautifully of all the things I was trying to find words for, and I love the book so much more because it has been graced with one of her astonishing paintings that show the making of invisible rooted connections, of trees reaching for each other under the surface.

There are already two new books on the horizon for next year – one of them my children’s debut. But A Spotter’s Guide To Invisible Things will always be incredibly special to me and I will always be grateful and excited for it to spread out its roots and wings and tendrils and find another soul with whom to connect. Maybe it will be you, reading this?

“This is a collection full of unexpected observations: slant ways of looking at the world. From the opening poem through ‘in my mother tongue the name for grand piano is wing’ to ‘ a sci-fi story about flying urn hauntings that would make an excellent Hollywood blockbuster’ the reader encounters intriguingly titled poems which demonstrate a wry humour as well as an adroit use of language. The poet deals with myth and everyday occurrences equally adeptly. Selkies, Taygete, tree surgeons, angels, bindweed and animal rescue centers are all at home in these poems. Reading this collection was an enchanting journey along an unpredictable route with a new delight on every page. – Susannah Hart

About Laura Theis

Laura Theis writes poetry, songs, and fiction in her second language. Her work appears in POETRY, Oxford Poetry, Magma, Rattle, Aesthetica, Mslexia, and others, and she has received the Alpine Fellowship Writing Prize, the Oxford Brookes Poetry Prize, the Poets & Players Prize, the Hammond House International Literary Award, the AM Heath Prize, the Mogford Short Story Prize, as well as a Forward Prize nomination. Her debut how to extricate yourself was an Oxford Poetry Library Book of the Month, was nominated for the Elgin Award by the SciFi&Fantasy Poetry Association and won the Brian Dempsey Memorial Prize. Her new collection A Spotter’s Guide To Invisible Things won the Live Canon Collection Prize and received the Arthur Welton Award from the Society of Authors. A new poetry collection from Broken Sleep Books and her children’s debut Poems From A Witch’s Pocket (Emma Press) are forthcoming in 2025.

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Guest Feature – Margaret Royall

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.

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Launch Feature – Jen Feroze

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.


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Guest Feature – Desmond Childs

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.

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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 31st 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.

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Guest Feature – Damien B Donnelly

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 8th 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 26th 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 2nd collection.

Other books by Damien B Donnelly

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Launch Feature – Julie Stevens

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.

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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).

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Guest Feature – Sarah Scally

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.

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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 4th April!

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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 4th April 2024.

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Launch Feature – Rachel Deering

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.

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