trauma and healing – alice hiller

‘I am a spring/ The storm enters her’: Sarala Estruch on making art that transforms the silencings of family, history and diaspora.

Few journeys are ever single or simple. Whatever we leave behind often moves alongside us – whether as a source of harm, or healing. In ways that feel radical, and necessary, Sarala Estruch’s revelatory debut poetry collection, After All We Have Travelled, invites us to look with new eyes at the complexity of diaspora, and how the violences implicit in empire may impact successive generations. The poems also reflect strong energies that arise in speaking beyond the silencings of history – as Estruch does here, through fragmentation and uncertainty.

Published by Nine Arches, and edited with great thoughtfulness and care by Jane Commane, After All We Have Travelled is a collection which speaks additionally to me as someone who lost their father in childhood, as Sarala did. This is something about which Sarala and I have talked about briefly in person, and in more depth within the interview which follows this review. Because I feel that both her poems, and the themes she explores, will speak to many of us with multiple heritages or languages, and complex histories, in addition to reviewing her collection in this blog, I wanted to offer Sarala a space to talk about how about how the collection came together, and the thinking, and reading, and living which informs the poems.

Review of After All We Have Travelled by alice hiller:

After All We have Travelled’s prefatory poem, ‘On Sound’, notices how it remains at a “frequency / our ears // cannot touch/ but // the body / hears”. In the speaker’s history, this reverberation is true of the separation before she was born (at the insistence of his family), of her Indian father and European mother. ‘Starting from a Dream, 1983’ observes the speaker’s pregnant “mother-to-be” waking at night in a separate room, in his family’s home. By day the family appear “as though they are // already / watching her leave”. At the close of the poem the speaker’s unborn self rises up into an act of self-claiming that fuses separate perspectives into a voice that is simultaneously scattered, and whole:

All too soon, the “single star” of the speaker’s father has been extinguished by his early death. Elegising his gifts to her, and honouring the inarticulacy of childhood bereavement, ‘the things that remain’ is made up of fourteen tiny couplets, laid out as seven pairs, with a central dividing space running between them. Enacting smallness, the worn objects hold a potent residue of love alongside the grief through which they have been cherished:

Speaking to a theme to which Will Harris, Sarah Howe, L.Kiew, Rowan Hisayo Buchanan, Nina Mingya Powles and others respond, this second section also documents the complexity of growing up of mixed cultural heritage, and the fragmentations and dispossessions of self that can ensue. In ‘Freight’, these include “believing people/ were praising the whiteness/ in me when they called // me ‘pretty’.” Set alongside this is the confusion of travelling alone to India to meet the plethora of loving relatives who nonetheless chose to be strangers during her father’s lifetime. ‘Home/Home’ begins “It is hard to feel Indian when this country is as unknown to you/ as you are to her.”

Like a tide flowing back, from the midpoint, the poems shift towards reclamation as the speaker understands what she has lived without, and becomes more able to heal. ‘how to talk about loss’ reflects “for // decades i’ve been a river-bed/ bereft ~ not a drop of// what i was made to hold ~ ”. Responding, ‘To leap’ is one in a sequence of passionately alive love poems encompassing an energy of deep regeneration. Opening with an epigraph from Toni Morrison, ‘I didn’t fall in love, I rose in it.’ this honours “pitching your strength/ at every atom that has pressed// you down & soaring”, then ultimately “learning to live// with doubt, learning to rise in it;/ learning to love like that.”

The collection closes with multiple reintegrations. Arriving at “Indira Gandhi International Airport” in ‘Return’, the speaker and her Jamaican husband are told by the immigration officer that their children are “universal.” ‘Dear Father’ records a sense of homecoming in India when the grandfather, who originally refused her and her mother, now welcomes her husband and children, making her lost father also present again with them: “These rooms pulse with you, motes/ of thought and feeling still in motion.”

Three powerful poems directly address the harm resulting from the British Empire. ‘The Residency, Lucknow’, documents “crumbling walls pierced with exit wounds.” ‘Vaisakhi, Vaisakhi’ contrasts the speaker’s family observance of the Spring Festival in 2019 with the 1919 Jallianwala Bagh Massacre, when the British Army killed somewhere between 400 and 1500 of the people who had gathered peacefully in Amritsar to celebrate, wounding many more. ‘Grandfather Speaks (Via Audio Recording)’ documents how the family dispossession of their home, in the Punjab during Partition, remains unspeakable by him even in the present day:

The final poem, ‘Ghazal:Say/ After Will Harris’, centres around a memory of the speaker running to meet her father in a “garden”, and cutting her knee. Her spilt blood is both historical fact, and a metaphor for the redemptive interpersonal transactions that occur through the reactions of art-making and art-sharing, and the energies that they confer on those who create and receive them. In a way that encapsulates both personal experience and the reverberations of history, the speaker realises: “All I know is you’ve been gone these long years and, at the same time, you haven’t,/ you’ve been right here.” The collection ends with loss and connection inseparable from each other, remembering a father and daughter who have moved beyond fixed time into the resonant indeterminacy of art and memory:

Interview between Sarala Estruch and alice hiller

alice: We both started out trying to write novels – then found our projects translating themselves into poems. I found the wildcards, and subconscious dark woods of poetry helped hold spaces in bird of winter that simultaneously required, and denied, language. What led you into poetry from prose, Sarala, and how did writing in this form help you realise After All We Have Travelled?

Sarala: Yes, ever since my late teens, I had been wanting to write about my parents’ story – how they met, loved, and separated. I kept trying to find ways into writing it. For years, I thought the book would be a sort of historical novel set in London in the 1970s and early 80s (where my parents met and then lived together for several years). Then, in 2016, after reading Bhanu Kapil’s The Vertical Interrogation of Strangers, I tried to write the story as an experimental novel or a hybrid work of prose/poetry, but eventually realised that what interested me most – where the energy really resided – was in the poetry.

I came to see that I was less interested in narrative progression and more interested in language, specifically language’s ability and inability to explore the complexities of human psychology and emotion. Saying that, narrative is still important to me, and, in some ways, my collection could be described as a novel-in-verse, but the experience of feeling and thinking beyond the ordinary day-to-day parameters is more important, if that makes sense.

And yes, as you’ve said, poetry is a place where it is possible to attempt to speak about things for which ordinary language doesn’t suffice – inexplicable loss, complicated and prolonged grief, devastating personal, communal and/or intergenerational trauma. Poetry helps us in our attempts to articulate that which cannot be articulated, to create a language (or a non-language) of the unspeakable.

alice: That’s such a beautiful and thoughtful answer. I love the idea of the ‘language (or a non-language)! Following in that train, during your launch with Nine Arches Press, you referred to the voices of the poems in After All We Have Travelled as coming from their ‘speakers’, rather than necessarily articulating your single experience. I see my poems as speaking through and with me, but coming from a larger hinterland. Would you be able to say something about how your poems are voiced?

Sarala: I think when I insist that the voices in After All We Have Travelled are those of ‘speakers’, I am trying to draw attention to the fact that, while I have drawn on personal experience and family history, these poems are not purely works of autobiography or biography. The poems are works of invention and craft; throughout the writing of AAWHT, factual accuracy was less important to me than emotional and imaginative truth.

In addition, a huge source of inspiration for my work, beyond my personal experience, is the work of other poets. The poems in AAWHT were created in conversation with the works of writers including Bhanu Kapil, Marie Howe, Emily Berry, Sarah Howe, Sandeep Parmar, Kayo Chingonyi, Ocean Vuong, Will Harris, and many others.

alice: Those are all poets whose work has also been crucial to me in different ways. Some of them, like you and I, also operate in more than one language. ‘Bouchon’, meaning stopper, explores your work’s relationship to language, and to the blockages which also shape it, but moves beyond them towards a space of freedom and speaking. The poem ends ‘There are no stoppers –’ How has this journey come about in your own work and life as an artist?

Sarala: These are all such excellent questions – thanks so much for your care and attention to the work, alice. I think, in terms of ‘Bouchon’, the poem is speaking about how language can get in the way of experiencing things, how language can sometimes ‘stopper’ the world by making us see things in a habitual way, rather than allowing us to experience things afresh, as children do, without language. This poem is about having a complicated relationship with language, fearing how language can ‘hold things down. Its false claim / to ownership’ (which, of course, can also refer to the colonial impulse of ‘naming’ that which is ‘unknown’, but which may already have a name). I think this poem is about embracing the joy of not knowing; how there can be real joy in being in a place where you don’t have the language to describe the things around you, which takes you back to experiencing the world in a sensory, pre-verbal way. I suppose, in my work, I am interested in exploring ‘the nameless / things, a poet spends her life chasing and / never quite arriving at’. It’s a way of accepting that we can’t know or control everything; that it’s OK to ‘just be’ – this is also a form of belonging. You don’t need to know everything in order to belong.

This was a new way, for me, of writing about unknowing, which is a strong theme of the book and of my life, if I’m honest. There is a lot about my family history and about my parent’s countries and cultures that I don’t know and that I often feel shut out or apart from, since both my mother and father immigrated to England before I was born (from France and India, respectively) and, also, as a result of the difficult, painful things that families avoid speaking about and which are enveloped in shame, such as my paternal relatives preventing my parents from marrying and being together. However, in this poem, the speaker is embracing the state of ‘unknowing’, how it can be a fertile and joyful ground to stand on.

Of course, another important theme of the book (and one that is even more significant in my pamphlet Say), is the journey of moving from being unable to speak (about trauma, childhood bereavement, and complicated grief) to finally finding a language and the courage to be able to voice these experiences and emotional states, so yes, that is also another possible reading of the poem – thank you.

alice: Developing what you say here, poems including ‘The Residency, Lucknow’, ‘Vaisakhi, Vaisakhi’ and ‘Grandfather Speaks (via Audio Recording)’ address the ingrowing silences and shames that living beyond catastrophic loss may precipitate for some individuals, and considers the ways that art-making can offer spaces of communication, as well as commemoration and witness, which confer agency on both creator and recipient. Was that something which was important to you?

Sarala: Yes, very much so – thank you for putting it so beautifully. Attempts at communication and connection are central to my work, as are attempts to create poetry of commemoration and witness. Trauma is carried in the body and passed down through generations, so speaking about and sharing our experiences of trauma, in a safe way and in a safe environment, can create space for reparation and healing, which is so important – otherwise we become stuck in cycles of suffering.

Thank you for everything you’ve said here, particularly about the poems’ attempts to confer agency on both creator and recipient – this is such a vital component of the work.

alice: It is a collection which means a lot to me Sarala. I feel changed by reading it, which was part of why I wanted to share my response to the poems and ask you more about them. In reviewing After All We Have Travelled, I was strongly drawn to your experiments with form, and the freedoms these gave you, which of course generate agency for both reader and writer. Would you like to say something about this space of deep play, perhaps with reference to ‘Camera Lucida/ After Roland Barthes’?

Sarala: Yes, I consciously wanted to include a wide variety of forms in this collection, having been inspired by Sarah Howe’s Loop of Jade, in this regard – Howe’s use of multiple poetic forms really highlights and illustrates the points she is making about the instabilities and multiple possibilities of language/meaning, and also in terms of shaking up the English canon and creating a space where multiple poetic forms (originating from various countries and cultures), languages, cultural myths and histories can sit side-by-side and be enriched by one another. Howe’s work also creates a fruitful space to think about the many possibilities inherent in cross-cultural and mixed-race relationships, and mixed-race identities. I was drawing on all of this while writing AAWHT.

It was also, as you say, a space for deep play – a liberating and (mostly) joyful (although, of course, at times highly challenging) experience to write these poems in the forms they asked to be in.

‘Camera Lucida’ was strongly inspired by Barthes’ eponymous text on photography and mourning. The poem began because I had a memory of seeing a photograph in my father’s photo album which carried a lot of significance to me. I told Sarah Howe (who worked with me as a mentor on these poems) I wanted to write about this photograph but I wasn’t sure how. She suggested that I read Camera Lucida. As soon as I began to read Barthes’ text, I very quickly felt the urge to replace the word ‘photography’ with the word ‘father’ or ‘lost father’. Barthes seemed to be, from the very start, speaking directly to my experience of losing a parent, while, at the same time, speaking very intelligently about photography. I, therefore, played with Barthes’ words and incorporated many of them into the poem (the words in italics are direct quotations lifted from Camera Lucida) – so this poem is, in part, a found-poem.

Early drafts of the poem included several parts, which were short and fragmentary, like discrete photographs. Then my editor at Nine Arches Press, Jane Commane, had the wonderful idea of drawing faint boxes around the separate parts of the poem, so that they would visually appear to be photographs in a photo album. In addition, I asked Jane to typeset the poem so that ‘the photographs’ slowly fade over the course of the poem, so that the final ‘photograph’ is only faintly visible, evoking how memory (like photographs) fades over time. At least, that is my reading of the poem. I am open to other interpretations; I don’t think an author has absolute authority over the meaning of their work, and, in fact, there is often a lot in a work which the author does not know is there, since it is as a result of the work of the unconscious mind.

alice: I agree very strongly with what you say about the role of the unconscious mind in generating and shaping the work we make. Continuing with the theme of the deep experiences which inform our beings, I wondered if we might think alongside each other about early childhood bereavement, which I touch on in my review also, and is something my own work addresses. One of the most moving and profound journeys of After All We Have Travelled is towards finding forms of words to hold this succession of losses, which travel alongside a child as they grow towards adulthood and find their parent is absent also from the new places that are opening in their lives. Could you say something about the process of creative reclamation which your collection performs, and the sense of nurturing presence it generates?

Sarala: Wow, alice, I can’t quite express how very grateful I am for your careful, close reading of AAWHT and what the work is trying to do.

Yes, the central journey of the collection is the process of moving through life as a child who lost a parent, then as an adult and, finally, as a parent oneself, and all of the different and cumulative losses of growing up and living without a parent throughout the various stages of one’s life. However, as the closing poem ‘Ghazal: Say’ suggests, even while the person who was bereaved in childhood has keenly felt the loss of their parent throughout their life, they have also, at the same time, keenly felt their parent’s presence: ‘All I know is you’ve been gone these long years and, at the same time you haven’t, / you’ve been right here’.

The creative reclamation of After All We Have Travelled is the acknowledgement and expression of what bereaved persons know to be true: when you lose someone important to you, at whatever stage of your life, the person never fully leaves you; they are still always here, with you, within you – in your mind and in your heart. They are always present in your life, just as the loss of that person is also, simultaneously, always present. Expressing this perplexing, contradictory, and yet strangely beautiful truth gave me much solace, and I hope that readers of these poems will find a similar solace.

alice: I personally felt that beautifully realised, complex, tender solace Sarala, and it is one of the many elements of your work that I wanted to bring to others. Finally, and to close, can I thank you again for the gift of your poems, and ask what you are working on now, and where we may hear you read from After All We Have Travelled in the months to come?

Sarala: Yes, I am currently working towards a second collection of poetry, as well as a work of creative non-fiction. Both continue to explore and develop themes of identity, (un)belonging, and loss, which are so central to AAWHT, although in new and different ways.

In terms of readings: I am reading at the Cheltenham Poetry Festival Lounge (online) on Tuesday 27 June, at Ledbury Poetry Festival on 1 July (with Stephanie Sy-Quia), and at Deal Music and Arts Festival on Saturday 8 July (with Jessica Mookherjee). I am also teaching an online poetry workshop on writing poems about memory and family history for Verve Poetry Festival on 18 July.

It’s not often you get asked to read 222 books in two months: looking back on being a 2022 Forwards Prize Judge.

2022 Forward Prizes winners Nick Laird, Stephanie Sy-Quia and Kim Moore exiting Forwards photo shoot.

It’s not often you get asked to read 222 books at a sitting – let alone within two months. But that was the challenge – and the gift – that being asked to judge the 2022 Forwards Prizes brought to the doorsteps of Fatima Bhutto, Nadine Aisha Jassat, Rishi Dastidar, Stephen Sexton and I over the spring of 2022. Delivered by increasingly disbelieving couriers, box after heavy box of books made their way to us. They were accompanied by emailed individual poems, for the Best Poem category. With submissions for 2023 closing on 5 March, and this year’s judges revving up for their marathon read, it seems a good time to look back on the gift of being one of the 2022 Forwards Prizes crew. I also wanted to re-share the 2023 good news that poets can submit their own work for Best Single Poem, Performed here, free of charge. All other entries need to be submitted by publishers.

Anthony Joseph reading from ‘Sonnets for Albert’

Back in 2022, for Fatima, Nadine, Rishi, Stephen and I, the impact of all those books arriving was something like a lifelong chocolate lover finding themselves suddenly swimming in a chocolate fountain. How to take it in the richness we were offered, without becoming overwhelmed and losing our powers of discrimination, was the challenge we faced. In my own case, to fit in the reading, overnight everything became book-shaped. If I was making a meal, I was reading a book on the side. If I was eating a meal, I was reading a book on the side. If I was travelling on the tube, I was reading a book standing, or sitting. When we met for the short-listing meeting, one of my fellow judges said that they were reading anything between two and ten books a day once the numbers of submissions ramped up. The rest of us simply agreed.

Because the books followed me everywhere, wherever I happened to be, I was constantly reminding myself not to let go of, lose, mislay or forget the collection which was my companion of the moment. For all I knew, it might prove to be one of the ones which made the prestigious Forwards Shortlists for Best Poem, Best First Collection, or Best Collection, or indeed ultimately won one of the big prizes. Respectively worth £1,000, £5000 and £10,000, they offer an incalculable and enduring career uplift to the poet concerned, beyond their already significant cash value.

To make it more interesting, I’d never formally judged anything before. I have a PhD from UCL. And I’ve done a lot of reviewing over the years, everywhere from the TLS to the Poetry Review and Poetry London. So the tools were in place. Would I know how to use them to winnow down such a huge mass of material? The first test would be creating our individual shortlists, ahead of the formal shortlisting meeting. Building up to it, I found myself waking in the night with the weight of responsibility. I was comforted by knowing this was a shared endeavour. Up and down the country, and across Scottish borders and over the Irish sea, and further afield too, Fatima, Nadine, Rishi and Stephen also had their shoulders to the wheel. We were carrying the decision-making collectively.

Helen Mort reading from ‘The Illustrated Woman.’

Fortunately, as I read steadily onwards, in my book-shaped world, a sense of the material began to emerge. We were sent many outstanding poems, but certain collections had a coherence, as well as newness and difference, that made them stand out. Their parts held together and were of a consistently high standard. As Rishi Dastidar observed, they often also made our pulses race with excitement. These books, and individual poems, also gave us a sense of entering new worlds – defined by the language through which they were realised, the shapes they made on the page. In my own case, this was the work which began to make its way onto my longlist. Or rather into the set of four stacked plastic drawers into which I was posting my serious contenders, for further consideration.

Joint hosts Stephen Sexton and Shivanee Ramlochan

When we came to swap longlists, ahead of our first meeting, our intersection points became the roadmaps which led to the eventual nominations. The judging meeting to decide the shortlist took place over many zoomed hours, on a hot, late spring day. It was exhausting and wonderful in equal measure, generating deep conversations around the works under consideration with other people who had thought about them as intensely as we each had. At the end of the day, we all felt that the shortlists that we arrived at were genuinely communal decisions.

`Holly Hopkins reading from ‘The English Summer’

We chose poems written on front lines, responding to climate change, exploring migration, queerness, illness, identity, questioning, affirmation, faith, shame, desire, sexual predation, and sexual reclamation. They went into the woods, and into stinky kitchens, peered back at us out of buckets. Our non-human species included crows, butterflies, hyenas, cats, dogs, seagulls, and fungi, to name but a few. Mothers were sometimes wrecked, sometimes wrecking. Other times sources of profound nurture. Fathers might, or might not be, not terrorists. We were there as life began, and ended, with Nobel prize winners, and poets who had yet to publish their first full work.

Kaveh Akbar reading from ‘Pilgrim Bell’.

There was humour and anger, play of all sorts, a relentless inventiveness and above all a sense of the sheer magnificence, and courage of the creative process, on page after page. It felt extraordinary, and deeply heartening, in a year when hope and joy often seemed in short supply. You can read excerpts from all the 2022 shortlisted collections, and the single poems in full, on the Forwards website, and find them, along with all the Highly Commended Poems, all in the Forwards Anthology for 2022.

Over the summer and autumn, we then had the task of winnowing down the five shortlists to a single winner. Every shortlisted poet had a compelling case for being chosen as the winner of their category, so it was a hard call. Because I knew how much I’d valued hearing from Stephen, Fatima, Nadine and Rishi, there was less anxiety this time around. We were a good team, who had found our collective process and identity through the first sets of strong choices. But we were going to need all those skills to come to the best decision we could make.

Padraig Regan reading from ‘Some Integrity’

The days were shortening by the time we met again, and the conversations were engaged and warm, but also searching. We had had the summer to live with our fifteen shortlisted books and poems, to think about them from different angles, to respond to them in more open and relaxed ways than had been possible in the frantic read-to-the-finish-line of the first judging meeting. Once again we gathered on our zooms, with companion animals appearing in the background, or sometimes foreground, and occasionally barking their comments. And the winners that we arrived at were, miraculously, all ones we believed in, and stood behind wholeheartedly.

Misty Manchester on the evening of the 2022 Forwards Ceremony

That knowledge made the awards ceremony in Manchester’s Contact Theatre a genuinely joyous event. The event format celebrates the entire shortlist, with each poet reading, before the final decision is announced. This was also the Forwards Thirtieth Year, and its first Award taking place outside of London, which added to the edgy, vibrant excitement. Despite the chilly weather, there was a real buzz in the theatre even before the sold out audience took their seats, with many more joining from around the world via streaming. Reflecting the Northern location, poets within reach of Manchester were packing in, including Malika Booker, Jason Allen-Paisant, Andrew Macmillan, Simon Armitage, Kayo Chingonyi, Natalie Linh Bolderston, and many more.

Warsan Shire reading from ‘Bless the Daughter Raised by a Voice in her Head.’

The readings were mesmerising, and moving, bringing out the value in each work. Together we cheered Stephania Sy-Quia, Padraig Regan, Warsan Shire, Holly Hopkins and Mohammed El-Kurd for the best debut, with Kim Moore, Anthony Joseph, Kaveh Akbar, Shane McCrae and Helen Mort for Best Collection, and Nick Laird, Cecilia Knapp, Louisa Campbell, Clare Pollard and Carl Phillips for Best Single Poem. You can read more from each of them on the Forwards website, and I would warmly recommend this. Kim Moore, Stephanie Sy-Quia and Nick Laird were then announced as the winners.

Because the word ‘winner’ can have an almost obliterating quality, as if that achievement becomes the defining quality of the work, I wanted to finish this blog by sharing something of what I felt gives so much to readers in the Kim Moore’s and Stephanie Sy-Quia’s collections, and why the work of the Forwards Prizes has so much value in supporting artists whose work will make a lasting difference to the world at many levels. Nick Laird’s extraordinary poem, ‘Up Late’, can be read in its entirety via the Forwards website, and speaks for itself, but it can be a big investment for many people to buy a book at the moment. Here are some pointers towards what lies between the covers of Amnion and All the Men I Never Married, for those considering taking the plunge and buying these two brilliant collections.

Turning first to Stephanie Sy-Quia, who won the Felix Dennis prize for best debut for Amnion, from the first time I heard from her read from the book, at the online launch, and well before I ever saw a printed copy, I had the sense that she was working into crucial new territory around questions of migrations and gendered identity, both thematically, and in terms of delivery. I was also struck by how she was able to embed a very young woman’s voice into the poem, including sections which were first drafted while she was still at school.

Best First Collection and stand in waiting nervously to read.

Through the extended, fragmented form, Amnion builds an organically alive structure which is simultaneously open and connected, able to interlink multiple generations and diverse identities, always questioning how the individual narratives are sited relative to the dominant power structures and historical realities shaping their outcomes. Part of this arises from Sy-Quia’s ability to find language and imagery that locates the individual as a moment in time, and a product of their histories and migrations, but also of the languages which have determined the apprehension and transmission of their cultures, and the experience of their gendered bodies.

Stephanie Sy-Quia reading from ‘Amnion.’

Re-reading Amnion for the second Forwards judging meeting, I found the idea of the family or social group as an externalised amnion – that is a symbolic version of the membrane that protects the growing foetus – interesting to explore. It made me think about how groups can shelter and contain growing, evolving beings, but can also generate their own forms of harm through the holding-in of intergenerational and other traumas, especially ones that lead to, or result from, displacement. My own father-in-law, Oscar Nemon, came to the UK as a refugee, and lost 22 members of his family to the Holocaust. Sy-Quia’s ability to invoke and create imaginative empathy for the impacts on psychological health (including depression), of feelings of un-rootedness arising from cultural displacement therefore resonated with me, as it will potentially with many readers.

Writing about adolescence and young womanhood, Sy-Quia also places the female body centrally within the narrative, as a unit of reception, and perception. She explores teenage desire and vulnerability, and the loss or confusion of self which can come about as a result of predation, and exploitation during those vulnerable, hope-filled, urgent years, in a way which felt radical. There is a degree of privilege in the boarding school segments, but they butt the narrative up against the gender and class monopolies which Amnion interrogates, while also reflecting how ‘history’ and myth may be manipulated to shore up existing power structures, including those of empires and their toxic, ruinous aftermaths. All these questions come together towards the end in the final ‘Epilogue: Epithalamion’, which merges the political and the personal with immense power:

I AM WRITING NOW from the inky heart of empire,
its assonance no more unknown to me.
I shall knock the pillars out from under you
and label you up
in room upon room
of Wedgwood blue.

I HAVE SHUFFLED ALL THE SHARDS of what came to me broken
and I have not pried, for dealing in shards is what I wanted;
these being my inheritance.

THESE BEING
my demands
my thanks
my by rights

I USED TO WORRY that the performance was never quite for my own
benefit;
that I owed it to others, that without me they might never apprehend and
therefore I was duty-bound to make the point
again and again
with the quiet militancy of washing rice before cooking it in a saucepan.
This has been the extent of it: cooking rice.
But it is possible, as I have found, to delineate blood-bearings to each
their own.
My brother, for instance, is less interested in this quandary.
My father, for instance, professes to be half, which would make me a
quarter.
I reserve his right to do so; but my claim is my own.

Ultimately, Amnion left me with a feeling of making a path out of darkness and displacement towards claiming and belonging, which was powerful and real, and to which I think many will relate. Kim Moore’s second collection, All the Men I Never Married, also works with the gendered body as a political, as well as an intimate space, engaging with and articulating some of the forces and constraints which inform how women, and men, move in the world – both as living beings and as artists. It is the interplay between these two strands – of the lived experience and the creative response – which gives the collection much of its uniqueness.

Best Collection waiting nervously to read.

As I read, and re-read Moore’s collection, it became a hauntingly ‘big’ book. Its surface ‘accessibility’, arising from a string of ‘anecdotal’ poems in a variety of registers and forms, builds a navigable causeway leading the reader out into deeper waters. Moving through them, we explore desire, and its consequences, and the complex societal and cultural forces that form and give rise to this force within individuals, whether they are predatory, or subjected to predation. The poems also allow us to question from whose perspective the narratives under scrutiny are, and have historically been, represented.

Moore is writing in conversation with Rachael Allen, Rachel Long, Olivia Laing, Maggie Nelson, Katherine Angel, Fiona Benson, Helen Mort, also on this list, and many others, giving a porousness and permeability to the poems within a larger discourse – which enhances their resonance. Her building block is the individual self, and the individual body, and how these tessellate either lastingly and fleetingly to those around them. The prefatory, un-numbered poem begins, ‘We stand at the base of our own spines/ and watch tree turn to bone and climb/ each vertebra to crawl back into our minds,/we’ve been out of our minds all this time’.

A stand-out poem is 7, which Moore read at the Forwards ceremony. Beginning “Imagine you’re me, fifteen, the summer of 95” it remembers the “stranger” at the end of a log flume ride who reaches out to brush a drop of water from the speaker’s thigh. The work of the poem takes place in the doubled perspectives of the account, moving from the second person address to the teenage girl – “And you are not innocent, you’re fifteen,/ something in you likes that you were chosen./ It feels like power, though you were only/ the one who was touched, who was acted upon.” – to the third person, seen as if from the man’s point of view. Now she becomes “A girl… with hair to her waist/ and he’s close enough to smell the cream/ lifting in waves from her skin…/ and why should he tell himself no, hold himself back?” The poem closes “You remember this lesson your whole life,/ That sliver/shiver of time, that moment in the sun./ What am I saying? Nothing. Nothing happened.”

There’s a blend of delicacy, quietness, and horror, and a sense of this transgressive action echoing down through the years because not called out or defined as wrong, that is potent, partly in its restraint. Other poems aren’t afraid of exploring rawness, and a compulsive, propulsive sexualised intoxication, as with 15, when the speaker writes of a relationship where: “I thought love was a knife/ pressed to the throat, I thought there was a blade/ in each of our hands. I am telling this now so he appears/ as real as that first night when we didn’t sleep./ The slight red stubble of his beard, the freckles/ covering his arms – his gaze, his attention all mine –”.

From fumbling teenage confusion, to disturbing encounters in hotel corridors, or on trains or in taxis, while including also support from mentors and others who positively expand the sense of being differently, the collection makes the reader part of its own process of investigation and discovery. Through this, we share in the work of progressive redefinition and reclamation, from the starting point of being “a stone pretending to be a woman/ in the dark or like someone returning/ from a land nobody else could see.”

This trajectory generates a sense of arrival upon reaching 48, the concluding poem. Here, Moore’s voice recalls being told by an established, canonical, male poet, at the start of her writing life, that she should not speak of straightening her mother’s hair as a child. We, the readers, feel why she has come to understand that as a result of this “I have held my tongue for many years.” Evidence of the journey travelled, away from that silencing, lives within the poem. Moore has formed language and imagery that enables what was not allowed to be said to resonate with the reader in all its subtle complexity and vivid life:

My father elsewhere, and part of me still there,
part of me in the library with the man
who told me not to speak about such things.
The lawn. The drifting dusk. The bats.
My mother’s hair. My hands. That house.
The shudder of a horse’s flank.

As I publish this, the 2023 Forwards judges will be receiving their last boxes of books, and print-outs of poems. This year’s judges are Kate Fox, Karen McCarthy Woolf, Andrés N. Ordórica, and Jessica Traynor, coming together within two separate panels, being chaired respectively by the legendary Bernardine Evaristo for the Best Collections, and Joelle Taylor for the Best Single Poems. Along with many others I will be waiting, when summer comes, to hear the results of their hours of careful reading and thought, and to investigating the recommendations of the 2023 shortlists.

Kim Moore reading from ‘All the Men I Never Married.’

‘Solitude as Translucence on Worthing Beach’: Travelling the intertidal zone back to my two year old self for Magma Poetry.

Trigger warning: reference to childhood sexual abuse in the context of witness and healing.

In high summer, when our days swim with light, and heat, it can be hard to remember midwinter. In the same way as adults, sometimes we often feel unreachably far from who we were as very small children. With the publication this July, of an essay that I wrote for Magma Poetry back in January, about my first two year old memories, I have been able to set these two sets of opposites side by side. My brief for the magazine, edited by Isabelle Baafi, Ilya Kaminsky and Lisa Kelly, was to explore solitude. I chose to document a three night writing retreat, staying in a seafront hotel in Worthing, more or less opposite the Normandy beaches below my French grandmother’s house that I visited every childhood summer from when I was two.

The essay grew from observations I made and photographs I took on the winter beach, responding to Worthing’s marine landscapes, and tides. I wanted to open myself to the acts of looking, and noticing, that are the foundation of a very young child’s self. Through them, we begin to build their relationship with the world, and form a sense of who we are and where we fit.

My creative intention was always to share the photos and diary entries through this blog when the Magma essay was published, to give readers access to the raw materials I was working with. My journey from London started out looking bleak. I passed through heavy fog on the South Downs, and then came out in the the aftermath of heavy rain along the coast. No sooner had I left my bags in the hotel room, however, than the huge sky began to clear. Straight away, I felt new and old energies entering me. Seeing the sand ripples left by the tide, early days rose up again. I was fifty-seven, wrapped up against the end of a midwinter afternoon in scarf and gloves, a thick winter coat and rubber boots. But I was also a two-year-old barefoot child dressed only in her swimsuit and rubber sandals. Together, through our shared consciousness, we registered the thrill of small waves breaking and frilling around our ankles, of wading through streaming seaweed, jumping over water channels streaming down the beach.

As I walked back down the beach towards the hotel, the sunset made the shallow tide pools to flame with colour – as if they were singing back the sky’s song. Climbing the stairs to my room, it seemed as if the natural world had opened itself to me in my time of need, and longing.

I stayed working and reading until high tide, just before midnight, then headed out to a world flooded with moonlight:

Nearly high tide no 1: January 19, midnight. The nearly full moon is looking down on the beach out of its single white eye, silvering the black waves. It feels as if the water is breathing. Clear blue sky. Intense cold. Frost coming. Wet shingle sparkling.

Hurrying down onto the beach the next morning, I used the low, vertical light to capture the mussels growing on the iron legs of the pier, the worm casts rising like twirling castles out of the sand casting tiny triangular shadows, before the water covered them. After an hour of walking and thinking alone, and swimming in memories, I climbed up the shingle to the Marine Gardens Cafe.

Surrounded by friends meeting, and couples enjoying breakfasts, admiring a lady cutting up a sausage on her plate, for two alert terriers beside her on the bench seat, made me feel I was in the presence of other lives. I began to write my way back in time. On my way back to the hotel room, the tide was rising, and I sat on the shingle to document it.

Thursday 20 High Tide

Sitting by the sea with my eyes closed, I hear the tide clink through the shingle. A long slow rattling pull back, then the landing thrashing of a wave crest and its rush upwards through the stones. The water dropping, the breath landing. The slow rattling pull back of exhalation. I try to sound-time my body to this in-out movement. Drawing the world in. Letting it out. Hearing the water rattle the shingle and gather its energy to rise up a little further.

I open my eyes to see the swelling that pushes the wave up closer to me each time and the swirl of the foam. As if the sea is heaving itself towards me, sliding up the beach in liquid movement. Further out the sun makes a triangular glitter path. Warm enough for the first time this year to feel it on my skin. I face myself into its energy. Say enter me. Enter me life force.

Close up the lace frill of breaking water. Curling over, massing in whale rises. Heaving and roiling. Covering the beach in wet kisses.

When I went into the hotel after the high tide I dropped back into writing. Three or four pages flowed, and the essay opened. Then it was time for the cafe on the Lido, with its checked plastic tablecloths, and view of the sea through the storm grills. By now, people were enjoying a mid-afternoon slice of cake. After, I walked out along the pier over the water, adding a vertical line to the horizontals I had traced up and down the seafront. The sun was behind the pier, and the wind was cold, but the light was golden.

Afternoon on Beach 20 January spoken into phone:

Four o’clock. The tide is sliding down the beach with barely a ripple. Out to sea, a huge flock of seagulls have landed. They’re just sitting on the water. Little white flecks. Shimmers catching the setting sun. The sun is gold and heavy, dropping down past the end of the pier. The water is gunmetal, turquoise, grey, aquamarine. The colours keep shifting. It will be minus 3 tonight and the cold is in the air already, biting my fingers through the gloves, making everyone wrap up. The low sun is catching pebbles, catching the shingle, catching the wooden groynes that stop the beach shifting. Layers of golden colour striping the beach and two women wading into the still water. Further out the wind turbines rise up like white exclamations marks. The sky is moody grey over Brighton. Golden to the west. The two swimmers have dipped down into the water. They are keeping their heads high, swimming out with confidence. The seagulls are turning golder as the sun drops lower. The wind turbines are glowing. The sun is catching them. The wooden groynes are golden stripes across the brown shingle. A child is balancing on one. His father is photographing him, holding this cold January moment when the sun is still high enough to see by at 4pm, when the pier is balancing on its metal stilts and the sun’s path is golden beyond it. When the rim of the sky is apricot fading to gunmetal.

On the way back to the hotel, my ears ached from the cold, but my head felt exploded by colour. Walking into the Marine Office to buy a tide timetable, I was shown a small tank of beach finds. Purple-green snake haired anemones tangled their tendrils in the artificial current. A cuttle fish rose out of the sand on the floor and shot out its tentacles for food. Weed billowed. I knew I wanted to create ‘Chalk’ as a space where people could experience a microcosm of my childhood through their senses as well as their minds.

On Friday morning the sand was shining again as the sun rose above the long low tide pools. Sitting in the Marine Gardens cafe, for toast and coffee, after walking the morning beach, I fell deeply into writing a darker memory, which I describe in the Magma essay. On my way back, I found two lumps of chalk on the beach and carried them up to my hotel room to put on the windowsill. They are cold to the touch, heavy, punctured by holes, the work of many events. I have taken them back to London.

Friday 21 high tide.

Yesterday I was on the beach recording the tide at sea level. Today I am in my fourth floor room. The water is aquamarine today – a clear pale green blue – and moving more friskily than yesterday. Seagulls surround a man as he takes his shoes and t-shirt off ready to swim He makes a star shape before entering the water. The waves are creaming and breaking up the shingle – full of energy. The man is waiting with his arms up then dives down at 1.13 into the high tide and swims parallel to the shore. The cold waves are lapping and caressing the beach and he is swimming strongly where I swam last summer. After a clear morning the sky has clouded over but there is a low gold on the horizon which is gilding the moving water. Pale blue, green, gold running up the land, agitated with movement all the way out to the horizon after yesterday’s stillness. Seagulls flying strongly at level with my window. After a grey two months there is gold everywhere as if to remind me that life is always present. The swimmer is swimming strongly down the coast. The waves are curling and breaking into discreet white froth, not wild ragged storm waves but their elegant midwinter companions doing the work of bringing the water up onto the beach and letting the sand flats shine out in Normandy. The swimmer is coming back doing a brisk crawl. He duck-dives down, immersing himself fully, doing somersaults, playing like a child in the freezing water before wading out. There is an immersion in vastness that art also requires – a surrender to something huger and not without risk, that can infuse you with a larger energy. Pulling on loose trousers and a t-shirt, he seems intensely alive going across the beach at speed to dry and warm up. The waves are less frothy now they are being called back to France, the work of travel moving the other way.

In the early hours of Saturday morning, after writing all day about my father, and reaching back deep into golden places with him which I thought I had lost, I woke very cold after dreaming that my mother had come for my two year old self and taken me from my grandmother’s house. Afterwards, when I tried to go back to that house, its door had been broken in and all the cupboards had been ransacked. The bathroom streaked with red. This is something I write about in more detail in the essay.

I got up on Saturday morning to a grey sky. My head was still heavy with tears with my eyes swollen – as if I had been crying in my sleep. These were tears which had taken more than half a century to be allowed to form. My time alone by the winter seaside had allowed me to go far back into my childhood and find a very difficult memory, which I write more about in the Magma essay.

I packed up my bag, and settled my bill, knowing that a part of my two year old self, who had been exiled from my conscious mind for decades, at last had her place again within me. The memory the dream gave me back was hard to receive, but I could have asked for no greater gift. As the year has turned from winter, through spring, into summer, this very small girl has continued to travel with me. I am more whole for her presence.

If anything in this blog has been difficult for you, the Mind website is a good place to look for help, or you could speak with your doctor.

If you would like to buy the Solitude issue of Magma it’s available here.

I will be reading from the Magma essay ‘Solitude as translucence’ live and online in Cardiff at 11.30 on Saturday 30 July at the Seren Books Cardiff Poetry Festival. Tickets for the event are £3.00 online or £5.00 live or you can buy a Festival Pass for all the readings over the three days from 29 to 31 July for £5.00 online or £90.00 live.

Welcoming back ‘the little cat’: holding and healing the hauntings and recurrences of childhood trauma within the artworks we make.

Trigger warning: non-explicit references to childhood sexual abuse.

This has not been an easy blog to put together. I have written, and redrafted its plain sentences, bare as winter branches, but like winter branches, holding within them the promise of spring. For those of you who are thinking of reading further, I should warn you that I write honestly about the challenge of living with a complex history, and the fact that resolution can seem hard to find. But I work my way through these hard places, to arrive at a point of hopefulness, which you will hopefully also reach if you stay with me and with these words.

In life, as in art, we’re encouraged to think in terms of beginnings, middles and endings. Progression and resolution give structure to stories. When an artwork responds to trauma, the requirements change. Anyone who has experienced, or observed the impacts of traumatic events, knows that they continue to resonate and replay themselves for many years. To generate a truthful creative transaction between a traumatic subject matter, and the work into which it is translated, calls for forms of expression which can suggest recurrences and hauntings. Through this act of creative witness, we may begin to change their power and reposition our relationships to them.

Living beyond, and making art that responds to, my own experience of childhood sexual abuse, amongst other subjects, I face this challenge myself. As the light dims towards the end of November, and the days grow shorter and darker, child ghosts walk again for me. They remember and re-live my father’s death in hospital when I was eight, in 1972. These ghost-selves also re-experience the beginning of the penetrative sexual abuse to which I was subjected, very shortly after, when my mother, who was my abuser, and I moved from Brussels to Wiltshire.

Impacting both my physical and mental health, these hauntings can lead me to feel as if I am sinking down through waves of old sadness. Like heavy black sump oil, they seep into my thoughts and bodily movements. When things get really bad, they can make it hard to move – or even think. Because this has happened every November and December since I was a teenager, over the years, I’ve developed resources to keep myself going. I work beside my SAD light. I try to be kinder to myself and organise my working life so that I am not too pressured. I meditate, swim and walk my dog Ithaca, noticing the natural world around us. I connect with people who love me.

But all these strategies only ever mitigate the after-effects of the dreams which rise up at night. In my sleep, I become again a scared, hurt child, taken back to a place between life and death by my mother. This was the case – very brutally – in November and December of 2021, as it had been in 2020, and all the years before that.

None of us likes to speak of what we perceive as our vulnerabilities, for fear people will think less of us, or feel we are ‘seeking attention’ in some way. But in 2020, working on bird of winter‘s final manuscript alone with my dog Ithaca in lockdown, I decided to make an artwork that could enact being haunted by a traumatic past, and reaching beyond this towards a form of resolution. At the time, I was following an online workshop with Nina Mingya Powles around multiple language heritages with the Poetry School, which my fellow Forwards Shortlistee, Cynthia Miller, was also part of. I was also experiencing difficult dreams. They shaped what I wrote.

What emerged is called ‘je suis son petit chat il est mon papa 1972/ I am his little cat he is my daddy 2020’. It’s a multi-form piece which exists simultaneously as a conventional poem, a visual work, a sound experience and a performance. It was published this January 22 in bath magg no 8, as you’ll be able to see and hear by following this link.

When I performed it at bath magg’s online launch, I began by saying a few words about the poem. The response I received made me feel there would be a value in expanding them into this blog, however inelegantly. Opening up the deliberately smudgy, troubled layers of the poem up in this way also gives me the opportunity to separate the two overlaid texts, and look at each one in isolation. In the final print they are blurred across each other to play out how traumatic stories repeat and recur, as you’ll have seen from the fragment above, and the link to the full work at bath magg.

‘je suis son petit chat/ I am his little cat’ begins in French and English, the two languages of my childhood. They refract and translate each other, but the work also makes complete sense in either language. In the first two lines, I’m waking up from a nightmare in 2020, aged fifty-six. I’m also myself in bed, aged eight, in 1972, as my father lies dying in intensive care. From there it is back to 1972 and my eight year old self returning home to our flat:

Underlay text of ‘je suis son petit chat’

Describing my life before my father died as if it was still simultaneously present, including my grandmother taking me to the hospital, and my father sending me drawings home, the narrative enacts how, in dissolving the boundaries of time, these dark hauntings also open opportunities for healing, by re-accessing a fuller range of memory. Next in the underlay text comes the nightmare at the heart of the poem, which invaded my sleep in the early hours of 22 November, replaying the sexual abuse to which I was subjected as a child by my mother. As the poem reports, the terror of the dream induced vomiting and diarrhoea in my fifty-something year old self:

Tough though it was to experience in reality, this act of voiding is also a release, which opens up ‘je suis son petit chat/ I am his little cat’ to new energies – whereby the recurrence of the trauma becomes an opportunity to reset my relationship to the original events. Resetting happens through a short poem in both French and then English, which is overlaid on the looping narrative beneath it in larger font and bolder text, as the extract at the top of the blog shows.

Within its overlaid phrases, my adult self summarises the impacts of my childhood sexual abuse, including how it continues to haunt me. Speaking directly to my abuser, I refuse the silence which she imposed on me throughout my childhood and adolescence, and for long years beyond that. This frees the underlying narrative to begin to move towards the light of a different ending, where the recurrences of physical voiding can finally come to a stop:

The account of the nightmare, and falling “down a black tunnel” is repeated below the overlaid text, as when in nursery rhymes like ‘Oranges and lemons’, or ‘Frère Jacques’ in French, the verses come round again. Following the earlier shift, the act of voiding is once again purgative, letting go of some of the blackness and shame held inside me, and allowing gentler and more nurturing memories of my loving engagement with my father to continue to surface in the segment which follows:

Like many others with my history, for long years the trauma of the penetrative abuse in childhood separated me from being able to feel my own feelings, or know my own wants. Here, they begin to return to the child who lives within and alongside the adult. She can say once again “I want my daddy” and by expressing this longing re-form a more authentic connection with herself. My grandmother’s phrase translated means “let her through, let her through, she’s his daughter”. She was trying to get me allowed into the intensive care unit, but the phrase also acts out the way I am asking for my child self to be allowed back through, to speak and know herself, and how she was once loved.

‘Je suis son petit chat/I am his little cat’ ends in a place of quietness, with the possibility of integrating my separated selves more fully. Translating the “petit chat” nickname my father gave me into the English “little cat”, and laying it down on the page, the poem performs an act of witness to the co-presence of my child and adult selves. It also documents how, by reconnecting more fully with child-alice, adult-alice is able to begin to make a new relationship what made us who we now:

Walking in Shotover County Park near Oxford in the last days of 2021, after some very tough weeks, I saw trees and misty light that reminded me of Wiltshire, and felt unkind old ghosts crowd around me. But breath by breath, I drew the damp, cold air of the present into my body, and with it new energy. With each out-breath, I tried to let what I no longer needed pass from me. As I did this, the pearlescence of the fields and clouds became a wilderness of beauty, and the black branches of the trees uplifted themselves into acts of elemental resistance. With my dog Ithaca scenting the damp leaves, and pulling us forwards, and the landscape saying that life would return, I felt how this difficult annual recurrence was also a gateway to transformation – that each year I must find the way through.

The link to ‘je suis son petit chat’ at bath magg is here if you would like to hear or see the work again in its entirety.

If you would like to buy bird of winter, please follow this link. Poems from the collection are also available on the blog.

If you need support after reading this blog, https://www.mind.org.uk/ has valuable links and helplines.

Further exploration: four books and StAnza Festival

I often set a creative prompt after exploring one of my own poems for people to explore in their own practice. In this case the subject material is too dangerous. Instead, for anyone wanting to work creatively with complex materials, or look at other examples of this practice, I would recommend four books which open pathways to new understandings, and new creative forms of expression, from the breakages and fractures of trauma. I would also recommend the other brilliant poems in bath magg no 8, many which respond to complex subject matters – and make from them acts of beauty and reclamation.

In terms of books, Bloodroot, by Annemarie Ní Churreáin creates provisional, shifting structures to hold the lives and reposition the representations of Irish women whose lives were appropriated by the Irish State and Church. Documenting how the State invaded every corner of life in Romania under Romania, under Ceausescu and the Romanian Communist Party, for Buried Gods Metal Prophets Maria Stadnicka and Antonia Glűcksman assemble a living memorial that incorporates diary entries, photos, erasures, quotes from statutes, and building plans, as well as more conventional ‘poems’. In Things I have Forgotten Before Tanatsei Gambura speaks through radical formal innovation of what it can mean to have grown up as a “Black Girl” in Zimbabwe during the 1980s – and how losing a country can form you as much as having one. Sasha Dugdale’s extraordinary collection Deformations explores trauma and PTSD, through fragments composed around Homer’s Odyssey. A separate long sequence responds to the sculptor Eric Gill’s work and life, within the framework of his recorded sexual abuse of his daughters. Sasha and I spoke about our work in Volume 48 of PN Review. Sasha has a hugely impactful new poem in bath magg 8 which you can read here.

Annemarie Ní Churreáin, Maria Stadnicka and I will be appearing at the StAnza festival on 12 March both live and online with many other brilliant poets in St Andrews. You can find more details here. Prices start from £3.00. Booking opens on 21 January. For people not able to travel to Scotland, many of the events are online and very reasonably priced. As well as performing, I’m going to be sure to pack out my schedule with hearing other poets and it’s a great way to check in with a huge range of voices and perspectives.

Like spring after winter – growing and claiming life beyond disaster.

When I think of adolescence, the unruly rush of spring growth, that transforms woodlands after winter comes to mind. Trees burst their buds into leaf, and plants grow towards the light following months of dormancy. Walking with my dog Ithaca in Shotover woods, above Oxford, as the seasons changed this year, I observed and photographed this almost ecstatic transition close up. I saw it with senses made more acutely responsive by the restrictions of lockdown. Like everyone, my daily life through the winter was defined by ‘sameness’ – without access to the visual stimuli of museums and films in cinemas and the different landscapes that travel and social contacts can open.

And iridescent carpet of nettles in Shotover County Park, near Oxford.

At the time, I was getting ready to launch bird of winter with my brilliant fellow Pavilion Poets Alice Miller and Sarah Westcott in May. The collection responds to my childhood experiences of being groomed, and then sexually abused, by my mother. It also documents the difficult teenage years beyond this as I found my uncertain way towards reclaiming myself and living again. When I was writing the individual poems, I would necessarily be in a single emotional space or remembered time. It might be reconnecting with my late father and grandmother, whose love helped me come through, or finding ways to bring much more complex memories of the grooming and the abuse, and their aftermaths, to the page.

With the poems orchestrated into their structure by my brilliant poet-editor at Pavilion, Deryn Rees-Jones, what became uppermost in my mind was the movements between them. Divided into three parts, the collection flows together like waves rising up a beach to lift their tide of moods and images into the shore of creative witness. Then it rallies its forces to carry the darkness of the abuse far out to sea – revealing the gleaming seaweed and new sands of the healing with which the final poems close.

Holding the sea-coloured book in my hands, turning its pages, I saw, and felt, how the way I was groomed set up and fed into the abuse, making it impossible to refuse. I also recognised with a new clarity how even when it was over, the abuse left me acutely vulnerable as a teenager, through having broken down any boundaries I might have had. But reading over bird of winter’s teenage poems, I also re-experienced the ferocious life force that puberty awakened in me, along with a hunger for the world beyond what I had known. This helped me reach towards my future like a plant towards the sun, in many different ways. These included forming new friendships, deepening my interest in books and the arts more generally, and beginning to travel alone. Adolescence also gave me the confidence to experiment, however awkwardly, with my reclaimed sexuality, and through this begin to separate myself emotionally from my abuser.

Once bird of winter was launched and out in the world, with many warmly generous responses from readers and people who watched the launch online, my thoughts kept going to my teenage self, surrounded by danger and possibility both at once. On my woodland walks with Ithaca, the foxgloves we spotted seemed like young girls, flamboyantly delicate, standing out from the foliage around them, but also susceptible to injury – as a flower can be picked and broken because it is not able to defend itself. When I turned sixteen, in the summer of 1980, I had a short white playsuit that I wore all the time. The bells of the white foxgloves in particular, cupped one on top of the other, brought back to me my own young body within that light cotton, and my unawareness of how I might be perceived.

White foxgloves growing up between the ferns and brambles.

During those teenage years, I faltered in my education, and was harshly judged by those around me as the impact of the abuse started to shape my behaviours and choices, as many young people are still today. Reconnecting with those times made me realise that it was not enough only to publish poems. I also needed to write and speak directly about the experiences held within them to expand the discussion. Children and teenagers who have been subjected to this crime deserve to be understood compassionately and respectfully as they work to reclaim their lives. Creative witness, and the discussion it engenders, are powerful tools for supporting this. Even, and especially, if recovery is necessarily messy and stumbling at times.

View from the path up to Shotover from Risinghurst

To further the work of changing awareness around sexual abuse in childhood, and help generate engagement, I wrote a performance text for Neptune’s Glitter House, which I also recorded as a podcast, exploring adolescence as a time of reclamation for those of us who have been subjected to sexual abuse in childhood. It features live readings of nine of my poems including ‘sea level’, ‘tessellation’, ‘wall painting removed from the house of the surgeon’, ‘mirror’, ‘when they begin to have feathers’, ‘sagittae’, ‘becoming your channel of pearl’ and ‘quadrant’. In addition to the poems themselves, I speak about their contexts, and the subject more generally. These words which are lifted from my introduction to the podcast:

As a bi-queer woman, club culture is something that resonates with me. I love its strobed shadowiness, and potential for transformations, and discovering new selves through playing with refractions of your identity. And of course all that glitter, ironic and otherwise. When I was a teenager in the late 1970s and early 80s, the time I’m going to explore, punk and two tone gave way to the ruffles and swags of the new romantics, and glitter balls were mainly synonymous with low-fi seaside discos in unfashionable towns, often along hot European coastlines. There time slowed to a trickle. Adventures could open into the night like strange flowers.

Poppy photographed growing on wasteland in London this summer.

If you would like to listen to the full podcast, please follow the link below. In terms of safeguarding, be aware that it contains references to the aftermaths of sexual abuse, but opens and closes with poems of healing. If you need support with anything the podcast touches on, the Mind website has valuable links.

Neptune’s Glitterhouse Performance on ‘Reclaiming Adolescence’ : https://t.co/D1WKymRpGu?amp=1

A canopy of new green covering the woodland floor

Following up from recording this podcast, I also wrote a memoir-essay for The Friday Poem website, published in August, which looks closely at four of the teenage poems in bird of winter. Titled ‘I think she is beginning’, (from a comment in my medical notes by the psychiatrist who treated me for anorexia when I was thirteen), this tracks how the poems enact my journey from the darkness of abuse towards the new light of healing. Again, it’s a journey that millions of people around the world are making every day. The essay begins:

Adolescence is seldom tidy or straightforward. Trying to locate ourselves beyond the lives we knew and lived as children gives rise to exploratory behaviours that outsiders can be quick to condemn. For those of us subjected to the crime of sexual abuse in childhood, the challenges and potential dangers are inevitably greater. This was my own experience. My abuser was my mother. Without appropriate support, the changes of puberty may push us back towards our places of injury, and emotional disassociation. If we have not been able to articulate or process the original trauma, there is also often little to mitigate the destabilising impact of reconnection with complex energies.

If you would like to read on, the full article can be found here. As before, I refer to the aftermath of sexual abuse in childhood, and the Mind website is a valuable source of support should you need any.

While I write these words in London, beyond the city the woods are moving from the heavy, green vegetation of high summer, towards the very first intimations of autumn. In the next months, leaf fall will reveal the bones of the trees, and the shapes their branches print onto the sky, as their roots co-link underground. Working alone, but with Ithaca close by, I hope what I say here may speak to all of us making strong lives beyond sexual abuse in childhood, and give support to the larger societies within which these works of reclamation and transformation take place, as communities of trees share their resources in order to grow and flourish.

If you would like to buy bird of winter it’s available here: https://uk.bookshop.org/books/bird-of-winter/9781800348691

If you need support via the Mind website please click this link: https://www.mind.org.uk/information-support/

Reading with Alice Miller and Sarah Westcott introduced by Mona Arshi

I will be reading from bird of winter online on 9 September at 7PM UK time with Alice Miller and Sarah Westcott for Chener books. Tickets are free, but you need to email Chener Books in advance at chenerbookshop@gmail.com.