I place a jug of lavender on the table to mask the smell of mould from under the fridge while you draw nails to hammer with your fist. Then I draw a hammer, and watch as you try to lift it from the page. by day it’s Mr Men, Mad Men, by night, your father and I wishing we could be so bold. you have no such wants, though sometimes I wonder as you try to peer into Jack and Jill’s well or climb the tiny ladder of your toy farm to mend the roof of your miniature barn.
Life After Death
My thoughts are all opposed to that streak of red fox in the field, black clods of thought that cling to the spade that lifts them to throw them back into the hole they made. The fox is an apposite thing, lived in without reluctance, as is the greenfinch, even as it hits the window and knocks itself out cold. My child knows this. He won’t allow himself forget his father warming the bird’s wings with his breath, its sudden swift flight as two foxes trot through Fayre’s Field ahead of the hearse.
Rebecca O’Connor edits The Moth Magazine and organises the Ballymaloe International Poetry Prize. She worked as a commissioning editor of literary fiction at Telegram Books in London before returning to Ireland with her family in 2008. She won a Geoffrey Dearmer Prize in 2004 and her chapbook Poems was published by the Wordsworth Trust, where she was a writer in residence in 2005. Her poetry has been published in, among other places, The Guardian, Poetry Review and The Spectator.
Kelly Creighton is a poet and writer with work currently and forthcoming in literary journals Ranfurly Review, A New Ulster, Electric Windmill Press,Inkspill Magazine, The Galway Review, Saudade Review, PEN Austria’s Time to Say: No! e-book, Recours au Poeme and other numerous other publications. She has recently finished editing her historical fiction novel Yielding Fruit. Kelly is working on her second poetry collection.
It has grown, not darkly, like mould, that sunless green. Sitting provides the habit of air. Children – trees, coats, limbs, the bounce of long hair as they troop the school road –
means stillness, expansion, despite unspeakable radio news on the murder of infants in temperate suburbs. Muffled, gloved, I grow in a car at the end of an eight-year planting, half of me
mulling the latest distant shooting. I would like to book a flight, transplant skills, solutions, get there fast. Instead, I wait, the smell of cooked dinner impregnating denims, boots, my cap, which she
inhales as she steps inside the car. I hold myself together beneath iced winter branches in grey couteur, feel an invisible frieze of buds stirring slowly, steady in deep cold.
Mary O’Donnell is the author of eleven books, both poetry and fiction, and has also co-edited a book of translations from the Galician. Her titles include the best-selling literary novel “The Light-Makers”, “Virgin and the Boy”, and “The Elysium Testament”, as well as poetry such as “The Place of Miracles”, “Unlegendary Heroes”, and her most recent critically acclaimed sixth collection “The Ark Builders” (Arc Publications UK, 2009). She has been a teacher and has worked intermittently in journalism, especially theatre criticism. Her essays on contemporary literary issues are widely published. She also presented and scripted three series of poetry programmes for the national broadcaster RTE Radio, including a successful series on poetry in translation during 2005 and 2006 called ‘Crossing the Lines‘. Today, she teaches creative writing in a part time capacity at NUI Maynooth, and has worked on the faculty of Carlow University Pittsburgh’s MFA programme in creative writing, as well as on the faculty of the University of Iowa’s summer writing programme at Trinity College Dublin.
I have spent my life squeezing my fingers between vibrating leaves of costal bone, insistently scraping fascia from muscle from nerve, unhooking your sternum from your throat, prizing apart the wedges of your spine to reach that precious bag of blood, to quell its chaotic pulse; to jump back as your thorax springs open like an eye, your heart the wild pupil.
Kathy D’Arcy is a poet, workshop facilitator and youth worker based in Cork city. Originally trained as a doctor, she is currently writer in residence with Tigh Fili Cultural Centre. Her second collection, The Wild Pupil, was recently launched in Dublin by Jean O’ Brien and in Cork by Thomas McCarthy. She has just been awarded an Arts Council Artists’ Bursary to support the future development of her work.
The first warm day of spring and I step out into the garden from the gloom of a house where hope had died to tally the storm damage, to seek what may have survived. And finding some forgotten lupins I’d sown from seed last autumn holding in their fingers a raindrop each like a peace offering, or a promise, I am suddenly grateful and would offer a prayer if I believed in God. But not believing, I bless the power of seed, its casual, useful persistence, and bless the power of sun, its conspiracy with the underground, and thank my stars the winter’s ended.
Seed is taken from Mysteries of the Homeby Paula Meehan, which was re-issued in February 2013 by Dedalus Press. Dedalus release notes for Mysteries of the Home are added here.Mysteries Of The Home was first published in 1996 by Bloodaxe Books.
Thanks to Paula Meehan for suggesting the poem and to Dedalus editor, Pat Boran, for facilitating my queries regarding having a poem by Paula on Poethead. I had wanted one for some time and I am delighted to add Paula Meehan to my Index of Women Poets.
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You can read more about Kelly at the following link.
Kelly Creighton/ Ceallach O Criochain is an Irish artist, writer of fiction and poetry; born in Belfast in 1979 she writes about contemporary relationships and local landscapes. Kelly has previously published poems and short stories in anthologies and magazines.Currently her poetry is in literary ezines including A New Ulster,Lapwing Publications. Recently her work was feature of the week in Electric Windmill Press.Kelly is editing her novel Yielding Fruit, a historical fiction set in West Yorkshire, she is also compiling her first collection of poems.
I wanted to read or hear the narrative of someone else – a woman and a poet – who has gone here and been there. Who had lifted the kettle to a gas-stove. Who had set her skirt out over a chair, near to the clothes dryer, to have it without creases for the morning. Who had made the life meet the work and had set it down.
Eavan Boland , from Object Lessons. publ. Carcanet 1995.
As ever, thanks to my readers who keep coming back to read, to make suggestions, and to send poems. My feeling is that overall 2012 has been a good year for women poets. There have been the usual scant begrudging reviews, there is still a visibility issue in terms of how many women are published, but poets like Alice Oswald, Ros Barber, Carol Ann Duffy, Eavan Boland, and all the women here published have most definitely placed the woman-poet in her room, on the street, and in the bookshop where young women and upcoming poets may find her if they care to look.
The easiest way to do this is to link the poets and translators published this year of 2012 as they were published. There is a handy monthly (2008-2012) archive to your right (and up the page a wee bit)
I had recommended some online poetry journals in my opening paragraph. and I thought to link them here. I am particularly fond of Bone-Orchard Poetry where I have (almost) published two sequences. Michael McAloran has an excellent list of working poets who he publishes on a rolling basis.
Those Irish Publishers, people involved in evolving tech to increase poetry readership, and poets who blog are listed in the sidebar of this blog. if I have neglected anyone, just contact me. I repeat the list here :
Last evening, 09/11/2012 , a poem called A Lament, writtenby me, was staged at the 2012 Béal Festival of New Music and Poetry.I am adding the Béal Festival website here.There will be shots and a recording available soon.
My thanks to Elizabeth Hilliard and David Bremner for their support in staging the poem and for a wonderful evening of music and poetry. I particularly enjoyed listening to Tom Johnson, and to The Sea-Farer.
Thanks to the wonderful women who spoke the poem with such powerful dignity, Dove Curpen,Réiltín Ní Chartaigh Dúill, and Emilie Champenois. Special thanks to Rita Barror who staged A Lament, and who helped with moving the poem from text to performance. Waltons Music school gave us a flexible rehearsal space which I am absurdly grateful for, and until this week I did not even know existed.
A Lament has always been companion to Two Songs of War and a Lyric, published by SouthWord Literary Journal in 2012, and deals with the subject of violence and conflict, especially on women and children. I wish to thank Mariela Baeva who is anthologising part of the series along with the PEN International Women’s Writers Committee, for her interest and support.
I hope to have pics and an audio at some near point, until then thanks everyone for making it possible.