Getting by in Tligolian: an interview with Roppotucha Greenberg

Today we are celebrating publication of Getting by in Tligolian – a clever and beguiling novel in flash about life, love, language and time, by Roppotucha Greenberg. Laura Besley, flash fiction writer and author of 100neHundred, caught up with Roppotucha to ask about her writing process:

Roppotucha Greenberg and Laura Besley

Laura: Firstly, congratulations on the publication of Getting by in Tligolian – it’s a fantastic novella! Often, while I’m reading – whether it be a novel, novella or one of the various forms of short fiction – I find myself wondering what sparked the story. Was there a moment or a character or an image or something entirely different that led you to write Getting by in Tligolian?

Roppotucha: Thank you so much. Yes, it was the image of that city: those huge glass enclosures, the traffic, and the narrow streets with tired looking shops, and the river. The giant as well. His presence was almost instantly apparent in my imagination.

Laura: There are various strands to this novella, one of which use ‘language’. In the story, ‘Appendix’, the main character states: ‘I tried to learn Tligolian so many times and forgot it just as many.’ Did you purposefully use language, or the lack of language, to disorientate her and set her up as ‘an outsider’?

Roppotucha: I think she would be an outsider regardless of the language. Apart from the physical fact of immigration, her chronic naiveté both protects her and isolates her from the world. Through learning Tligolian, which is not necessary for communication in Tligol, she attempts to ground herself in the world. Language learning makes things seem simple, especially in the beginning when one talks of girls eating apples and your mother being a teacher and things like that. Of course, this does not work, because language turns into layers of forgetting, while its difficult tenses wrap around her and make her confusion grow.

Laura: The main character describes Tligol, the fictional city in which the novella is set, as ‘so beautiful, I convinced myself that I was in charge of the perfect expression of its beauty.’ Do you feel the city functions as a character within the novella and if so, how did you go about conjuring that feeling?

Roppotucha: Thank you for citing this line. In a way Jenny spends the whole book chasing the city, trying to express its beauty, learn its language, find its giant, take the trains to all its time layers. The city is a character. Like other places in real life, it is alive and wonderful, but it also evades easy capture. One comes near, but only just near enough, and being in the midst of the thing you want to capture complicates matters.

Laura: Another aspect of the novella is ‘time’. Did you layer in that complexity through multiple versions and/or edits, or was that aspect of the novella clear in your mind from the outset?

Roppotucha: That was something that became apparent very soon, in one of the early drafts. Time- travelling trains are an inherent part of the city. Though other aspects of the city became apparent earlier – the way its spaces are not quite stable, for example, or the way living people get recorded as ‘reflections’.

Laura: All of the chapters are short, some only a few lines. Was this a conscious choice? What is the effect of this on the reader? And what benefits do you feel you gain as a writer by learning to write/writing concisely?

Roppotucha: Yes, this was a conscious choice, but it was motivated by the needs of the story. I think novella in flash is a genre that works well for fragmented narratives and stories that work with negative space – in the sense that narrative gaps are part of the story. Without giving away too much, I feel that the form of the text works well with its ending…

Getting by in Tligolian by Roppotucha Greenberg is out today! Read the first chapter now and buy a copy from our webshop.

Roppotucha Greenberg has lived in Russia, Israel and now Ireland; she speaks three languages fluently and has tried to learn six more. She has previously published a flash and micro-fiction collection Zglevians on the Move (TwistiT Press, 2019) and three silly-but-wise doodle books for humans, Creatures Give Advice (2019) , Creatures Give Advice Again and it’s warmer now (2019) and Creatures Set Forth (2020) and Cooking with Humans (2022). Arachne Press has published Roppotucha’s stories in Solstice Shorts Festival anthologies Noon, and Time and Tide.

Laura Besley is the author of 100neHundred and The Almost Mothers. She has been widely published in online journals, print journals and anthologies, including Best Small Fictions (2021). Her work has been nominated for the Pushcart Prize, twice nominated for Best Micro Fiction and she has been listed by TSS Publishing as one of the top 50 British and Irish Flash Fiction writers. She is an editor with Flash Fiction Magazine and a Creative Writing MA student at the University of Leicester. Having lived in the Netherlands, Germany and Hong Kong, she now lives in land-locked central England and misses the sea.

100neHundred is available from our webshop in paperback and audiobook. Listen to a story below.

 

Embracing the Fire: a guest blog from Marina Sánchez, contributor to Menopause the Anthology

Marina SanchezIt’s been a while since, my face and neck going an incandescent shade of crimson, I felt the need to strip down to my cotton lacy vest (mmm, yes, natural fibres) in the middle of a supermarket, whatever the season, and press my body as much as I could against the fridge sections of dairy, milk and meat. As a veggie that was awkward, but cooling down was essential. Once the wild fires had passed, I’d cover up again until the next time….

 

I naively started off thinking it would be a ‘mini pause’. My health was good, and I’d tried to take care of myself all my life.
Ah, surprise!

I remember the stats that one out of four women experiences nothing (like a friend who couldn’t understand what all the fuss was about), two have a range of average symptoms and one has extreme symptoms.
I soon found myself in the ranks of the latter.

The menopause is undoubtedly an intensely individual experience that should be honoured and supported whatever the woman’s choices are to best manage this transition.
Me, I went with it and read Dr Christiane Northrup’s work and Lesley Kenton’s – anything I could find about what was happening and how to manage it. I also learnt what herbal remedies my ancestors used, and took them.
I felt I was shedding the accumulated weight of years of worries, expectations and conditioning.
I danced 5 Rhythms weekly with devotion and exercised as often as I could, my body enjoyed it, why not?
I kept writing, even though I was a full-time carer of a very special daughter with complex needs, herself going through adolescence. Why does nature do that: two women going through profound changes in the same household?
And one of the poems I wrote then waited until Cherry gave it a home in the wonderful Menopause anthology.

I am proud to be included alongside the work of so many women’s voices, whose experiences enrich the overdue conversation we need to have about the menopause.
We need to go beyond the narrative of becoming invisible – unless a woman wishes that for herself, then I respect her choice.
But there are as many ways of stepping into our non-reproductive years as each woman is unique.
Let’s question the medicalised narrative of women’s health at every stage.
Let’s share our experiences and break the taboo, the silence, the shame.
Let’s support those women who are approaching the threshold to feel more confident stepping into this rich territory, which is an integral part of being a woman, as it has been for as long as we have been on earth.
Let’s relegate the questionable and freely spouted narrative of this youth-obsessed Western culture of older women being sad and past it.

Whatever your unique life experiences, if you are willing to share, we are all the richer for learning about them, as we understand more about ourselves and each other.
If not, I totally respect your need for privacy.

I say these are traditionally our wisdom years and we need to reclaim them.
I say for some women, our best years are yet to come.
If you are approaching this powerful time, I am welcoming you in.
If you have already experienced it, I honour you.

Marina Sánchez has a poem Wild Fires in Menopause: the Anthology

We have events on 6/10/23 1pm Online, 14/10/23 5.30pm Brixton Village Studios, 18/10/23 7pm online, 25/10/23 7.30pm Juno Books Sheffield, and more to come… ALL DETAILS

Marina is an award-winning poet and translator, widely published in literary journals. She is of Indigenous Mexican & Spanish origins, living in London. Her poems have been placed in national and international competitions and then anthologised. Her first pamphlet Dragon Child (Acumen, 2014), was Book of the Month in the poetry kit website. Her poems have been included in Un Nuevo Sol, the first UK Latinx anthology (flipped eye, 2019). Her second pamphlet Mexica Mix was one of the winners of the 2020 Verve competition.

The Change – Representation Matters

Author Ginger Strivelli tells us about what motivated her to write her story, The Change, for Menopause: the Anthology.

As a writer, I have always tried to show marginalised groups in my stories. I have often included characters of various colours, sizes, ages, and abilities. I have always been ‘plus sized’ and dislike the lack of flattering representation of larger women in advertising media and entertainment industry media. I think, as they say, that representation matters.

As the mother of six grown children, three of whom are autistic, I’ve often worked autistic charters into my writing. Having become physically disabled with limited mobility myself recently, I’ve also included wheelchair users and others with physical limitations in several stories. I like to show all these diverse characters in positive and accurate ways.

I have found my stories about able-bodied young men are accepted and published at greater percentages than my stories with a female lead character. My stories featuring characters who are disabled seem to bring about an even lower acceptance rate.

Though not a minority nor a disability, older women are nonetheless rarely focused on in any forms of media. It is, alas, similar to how underrepresented disabled characters and characters of colour are in movies, television, advertisements, and books. I write many stories where the lead role is that of an older woman being as amazing as we older women often are.

I was thrilled to have the chance to write a story focused on a menopausal aged woman in my favourite Science Fiction genre, where sadly, women of my age are even more left out than they are in other genres.

I was so pleased with how the story turned out. I was aiming to cover the subject with humour and accurate information on menopause and the changes it brings about in women’s bodies and in their lives. I hope it not only entertains the readers but educates them on what to look forward to when they go through the change…or when the women they love go through it. I used that ‘look forward to’ phrase there on purpose, as way too many fear and mourn the changes we go through in menopause, rather than celebrating our new cronehood stage of life and all the magical, helpful, and creative energy that it brings to us, and through us, to those around us.

I am thrilled that my story, The Change, is included in the upcoming Menopause: The Anthology.

Ginger Strivelli

Ginger Strivelli is an artist and writer from North Carolina. She has written for Marion Zimmer Bradley’s Fantasy Magazine, Circle Magazine, Third Flatiron, Autism Parenting Magazine, Silver Blade, Cabinet of Heed Literary Journal, The New Accelerator, various other magazines and several anthologies. She loves to travel the world and make arts and crafts. She considers herself a storyteller entertaining and educating through her writing.

We have events on 6/10/23 1pm Online, 14/10/23 5.30pm Brixton Village Studios, 18/10/23 7pm online, 25/10/23 7.30pm Juno Books Sheffield, and more to come… ALL DETAILS

In Conversation with A.J Akoto: Poems about the Body

Have you got a copy of Unmothered? Some of the poems in the collection consider  the body, and particularly a woman’s relationship to her physicality. Poet A.J Akoto spoke to us about why she wanted to explore the shrinking that women so often go through:

Delicacy

You do not have to be a delicacy.
You do not have to be tasty.
You do not have to submit
your body into feminine frailty.
You do not have to ruin your digestion
in an attempt to be digestible.

Your mind can be full
of ice-white rage;
you do not have to be kind.
You do not have to yield
to the pressure to forgive.
Forgiveness does not make you good
and goodness does not require it.

You do not have to exhibit grace,
not in anything.
You do not have to make yourself
a morsel,
not for anyone.

Buy Unmothered direct from Arachne Press

or come to the next event: Thursday 20th July 7.30 at Afrori Books in Brighton. Tickets via Afrori

In Conversation with A.J Akoto: Myth (2)

To celebrate forthcoming publication of Unmothered by A.J Akoto, we caught up with A.J to talk about every aspect of her debut collection, from the inspiration behind it, to her use of myth, and the complexities and challenges of writing about your own life.

A.J delves deeper into the mythological influences of Unmothered in today’s video, examining the layers of classical, societal and familial myth that the collection draws upon.

What myths, then,
am I making?

Pre-order your copy of Unmothered now or book to join us at an event:

In Conversation with A.J Akoto: Creatrix

To celebrate forthcoming publication of Unmothered by A.J Akoto, we caught up with A.J to talk about every aspect of her debut collection, from the inspiration behind it, to her use of myth, and the complexities and challenges of writing about your own life.

In this week’s video, A.J reads ‘Creatrix’, the opening poem from Unmothered, and speaks to Cherry Potts about the significance with which we imbue motherhood, and how our mothers shape us.

Creatrix

Mothers, first creators,
try to shape us in their own image,
or what they wish they were.

Feel the dip
of finger marks, moulding
muscle and bone like clay.

Our bodies belong not to us
but to the women who

grew us
fed us
know us

enough to end us with a word.

What terror and awe.
And after all, aren’t men
afraid of God?

Pre-order your copy of Unmothered now or book to join us at an event:

Crab Pots and Coffee: Writing The Arctic Diaries

As publication of The Arctic Diaries approaches, we spoke to poet Melissa Davies to ask about the inspiration for her debut collection and her experiences on Sørvær – a tiny island in a remote Norwegian archipelago.

Here we are, The Arctic Dairies is about to go out into the world and what am I feeling? 

In this moment, I find myself thinking often about the people living on Fleinvær. The handful of residents, the weekenders and friends I’ve spent another winter with. I picture them reading it and try to imagine what they will feel. After all, every poem sits in their landscape, not mine.

Listen to Melissa Davies read ‘Bird Wife’, on location in Norway

The Arctic Diaries truly started in the spring of 2017 with a Facebook post asking ‘Do you want to live and work in the Arctic?’ to which I replied yes! Months later a Skype call with the jazz musician who founded an artist retreat on Sørvær (one island in the archipelago of Fleinvær) and in November 2018 I was on a plane to the north of Norway to run The Arctic Hideaway for two months….which turned into six. My husband and I landed in the middle of an arctic storm to quickly learn the way of life here: weather rules winter and it is futile to resist that fact.

Sørvær is one of two year-round inhabited islands in the archipelago and during that first winter we spent many of the cold afternoons of polar night with the only other couple overwintering there. It was over kaffe, lefse and boknafisk (semi-dried cod) that I heard the tales that eventually became The Arctic Diaries. The book really began to form when I realised that many of these stories—eroded through family retelling—would disappear with the passing of the people we came to call friends. Not just traditional or folk tales but vocabulary unique to the landscape, ways of living and happenings that continue to tell us how it is to be here.

However, I don’t see The Arctic Diaries as an archive. The characters I’ve written are fictional, they are not two dimensional drawings of the people I met, I could never do them justice. Instead, I hope that readers will take from each poem what they need, along with a raised awareness or reminder of what we are losing as industrial fishing and fish farming continue to devour Norway’s coastline.

Having said that, the book is also a diary of my first winter on Fleinvær. An exploration of being ‘other’ and the personal demons I was facing at the time so I kept the diary title, structure and dates.

As someone from rural Cumbria, it was interesting to see so many of the difficulties facing Fleinvær and wider Nordland county reflected in the issues facing my own home. I write about the coastal Arctic because it’s the landscape that speaks to me but many of the poems sing a mourning song familiar to the fells too. So as you dive into sea orms, crab pots and eider nests please remember, The Arctic Diaries is only the first chapter in a project that has more to give, especially as art cements a place in the forward momentum of climate activism and Europe swirls with questions of borders and migration.

Pre-order a copy of The Arctic Diaries through our shop.

Being Published for the First Time in Mid-Life – Lesley Kerr

Continuing our conversation with older women writers

Lesley Kerr

Lesley Kerr is a contributor to our anthology Where We Find Ourselves

Having my short story published in midlife in the anthology, Where We Find Ourselves has been an extraordinary experience which inspired me greatly.  It re-ignited my passion for writing by exposing me to authors and poets of different ages, races, and life experiences with amazing stories to tell.

Whilst I was a shy child and spent a lot of time ‘in my head’ I had a vivid imagination and enjoyed making up stories to entertain myself and my siblings.  However, the idea of being a writer was never discussed as realistic career option for someone like me.  My dad wanted me to leave school after my ‘O’ levels and get a job to start contributing to the household, but my English teacher thought I should stay on to do A levels. As a compromise I went to a local college to do a one-year secretarial course – something solid and useful.  My dad’s attitude was not uncommon to immigrant parents who want a better life for their offspring.  He thought that one’s life purpose was to get a good safe job and do that until you retire in 40 years’ time, and only then can you do what you really want to do.  Fortunately, my secretarial training led me to roles in HR in the voluntary and public sector which I do enjoy.  However, my love of writing has never left me.  When my daughter was at school, I often found myself living vicariously through her schoolwork: reading the literature she was set and taking any opportunity to help with her essays and course work!

It was only when she went to Birmingham University that I thought about writing seriously.  Whenever I visited her, I would come away inspired by the university buildings and lecture theatres and thought how marvellous it would be to have my own further education – even if it felt slightly delayed.

So, I signed up to take a creative writing beginners’ class at the same college I went to more than 30 years ago!  As I waited nervously at enrolment for the first class, I couldn’t help but feel my age, seeing the last straggle of childlike adults leaving for the day in boisterous groups.  Many seemed younger than my daughter, and it made me wonder what I had let myself in for!  However, once I was in the class this feeling dissipated as I found myself surrounded by mostly women of a similar age to me or older, some who had, like myself, come straight from work, while others arrived after looking after grandchildren or spending the day in less strenuous retirement pursuits such as gardening or catching up with friends.

Many had files of manuscripts honed over the years, or folders full of poetry or prose.  The course taught me to express myself and to give myself permission to carve out time for completing writing prompts, which seemed to give my writing some legitimacy and feel less self-indulgent.  I learned a huge amount from the tutor but also my classmates.  One woman in particular encouraged me to not to downplay my ambitions.  I remember she encouraged me to have my photo taken in the class when I was placed third in a competition.  As my natural reticence took over, I remember her saying to me  “Oh go on up there, will you? When you’re a published writer you’ll look back on this….”  Her words seemed unbelievable to me at the time.

The range of writing styles showcased in class was also eye-opening.  I think that there are preconceptions of what women of a certain age want to write and read.  Rather than just cosy romances we heard YA fiction, folklore and fairy tales, crime drama as well as inspiring lived experience stories.

After the beginners’ class, I felt emboldened to take the Intermediate class and then joined Watford Writers to continue my writing journey.  I now have my own folder of work, and the start of a manuscript!

It has been inspiring to witness so many women expressing themselves creatively at a time of life when it has traditionally been that we come less visible and active as the years go by.  I am looking forward to contributing to the voices and adding my own stories to the discourse.

Understanding the past – Holocaust Memorial Day and In the Blood

Today is Holocaust Memorial Day, when we remember the six million Jewish men, women and children murdered in the Second World War, and all victims of persecution and genocide around the world.

Author Anna Fodorova grew up in a family where everyone except her parents had been killed in the Holocaust.  Both in her career as a therapist, and as an author, Anna explores the notion and experience of being a Second Generation Holocaust Survivor. To mark Holocaust Memorial Day, and to remember all the lost families, Anna has shared this blog post with us.

In 1968 I was a student at the Prague College of Applied Arts. Being a Jew in post-war Czechoslovakia seemed then like a dangerous secret, but it was an exciting time – there was hope that the reform of the totalitarian regimes in Eastern Europe was possible, and it was the first year that we were allowed to travel and work in the West. When a fellow student showed me the Butlin’s holiday camp brochure picturing a palm tree against the sea, I imagined myself as a barmaid somewhere in the Bognor Riviera and, though I didn’t speak a word of English, I felt I had what it took: I was young, had long hair, wore a miniskirt and intended to purchase some stick-on eyelashes as soon as I got paid.

On arrival in Bognor Regis, the first thing I noticed was that Butlin’s was surrounded by a tall barbed-wire fence and powerful searchlights. I was issued with a uniform and a card with a mugshot of me holding a number that I had to show every time I left or entered the perimeters of the camp. I slept on a bunk bed, and at night I watched the security guards walk around with their scary dogs.

Bizarre though my experience in Butlin’s was, I remained blind to its obvious echoes. I left Butlin’s hoping to hitch-hike around England but then the Russians invaded my country, and I became an emigrant.

Years later, when I started to train as a psychotherapist I gathered the courage to talk about what it felt like to be born into a family where everyone except my parents had been killed in the Shoa. Around the same time I came across the term ‘Second Generation Holocaust Survivors’. When I mentioned it to my mother she looked at me surprised: What second generation? You were born after it was all over, nothing happened to you.

I became puzzled by that nothing. The nothing that we carry inside us, and that formed us in our childhood. I attended conferences about the transgenerational transmission of trauma where, to my amazement I met people who, though coming from different countries and circumstances, had similar experiences of silence, denial and guilt. I published a paper about it in Psychodynamic Practice journal called Mourning by proxy: Notes on a conference, empty graves and silence. The same journal also printed another paper of mine called Lost and Found: The fear and thrill of loss. As a part of my research I visited the London Transport Lost property office and, seeing piles of toys, shoes, suitcases, push chairs (what happened to the child?) and other personal belongings who lost their owners, my internal associations were no longer a mystery to me.

I realized that the loss of someone or something and the search for them was going to be a theme that stayed with me. Another theme I wanted to explore was heritage, both psychological, and the one we carry in our genes.

My new novel, In the Blood, explores the impact of history on the personal lives of three generations – a mother, a daughter and a grandmother. My main protagonist, Agata, is the only child of Czech/Jewish parents. She grew up in Prague, believing that all her relatives perished in the Holocaust. Now living in London with her English husband and their daughter, Agata discovers astonishing news: not everyone died.

Like Agata, I too believed that my mother was the only member of her family to survive the war. When, to my incredulity, I found out that it wasn’t quite so, I tried to understand why this was kept a secret. What was there to hide?

Eventually I realised what that secret was: it was trauma, but in my novel Agata sets out to discover ‘the truth’.

Through her subsequent search for her surviving relatives, she meets a young man, the grandson of a Nazi who is writing a thesis about the transmission of trauma to the descendants of the perpetrators as well as the victims. They form an odd relationship. Soon Agata’s pursuit turns into an all-consuming obsession that alienates everyone around her. Yet for Agata, despite her quest risking the tearing apart of not only the family she already has, but her very own identity, finding out what happened in the past seems vital, the past that we all need to understand, whether that is to come to terms with the transmission of trauma, or as in Agata’s case, to put names and dates and faces to all the lost families, and to discover the not so lost.

To find out more about Holocaust Memorial Day you can visit www.hmd.org.uk. At 4pm today people across the UK will take part in a national moment for HMD by lighting candles and putting them in their windows to remember those who were murdered, and to stand against prejudice and hatred. You can take part as an individual and share a photo of your candle on social media using #LighttheDarkness.

You can read a first chapter extract of In the Blood in this blog post from earlier in the year.

Discovering ourselves in soil and sky on National Poetry Day

It’s National Poetry Day and the theme this year is The Environment. To celebrate, we asked poet Claire Booker about her relationship with the natural world, and the way she represents it in her new collection, A Pocketful of Chalk:

I can’t remember a time when I wasn’t in awe of the natural world: its endlessly creative
hutzpah; the refreshing disinterest it has in our little human concerns.

A Pocketful of Chalk came together from what I could see was a build-up of poems
connected to natural phenomena. By nature I also include the dream world, which arises
from our inner natures. Dreams are forces inside us which we ignore at our peril, just
like the forces outside us.

Five years ago I moved to the village of Rottingdean just outside Brighton in East
Sussex. I’d spent three decades living and working in south London, which is
particularly blessed with woodland and open spaces. Urban nature is a force for change,
because it offers millions of people a relationship with the wild which they wouldn’t
otherwise have. By virtue of its fragile hold within the city, urban nature is also a potent
symbol of what we’re losing.


Moving to a rural, farming area, placed me right in the middle of wildness (it can get
pretty wooly up there on the Downs if a storm’s coming!). But even this wildness is
under threat. During this year’s drought, the wheat fields were scorched, newly planted
woodland saplings dropped their leaves, there were tiny, misshapen black berries. Then
the rains came in biblical proportions, and top soil was lost.

As humans, we’re in a unique position. We’re part of nature, but also the enemy outside
its gates.

So what, as a poet, can I do about this? Very little, in reality, but even that little is worth
going for. Poetry can take you to the heart-beat of emotion. It can remind people of
what they’ve lost, or fear losing, or want to fight for. Above all, poetry offers quiet
contemplation, an enrichment of understanding – questions that could do with answers,
answers that need questioning.

The environment is us, it’s our relationship with each other, made manifest. We live in a
rushed, frenetic, some might say, frantic world. Poetry can help us draw breath, stop,
consider, appreciate. I find that by simply walking along the sea front, or up on the
Downs, the world starts to unravel a little. I get to see the same places over and over
again. But of course, they’ve never the same place more than once. And when I feel a
poem start to pupate, I pick up my pen. Learning about the planet, is learning about
myself.

So in A Pocketful of Chalk, there are poems about evening shadows on the Downs, and
how we can be stretched by light. There’s a poem about drought and how the loss of
plants is like losing children. There’s a young child who is impatient with her little
radish patch, but then flings herself onto the soil to listen to the seedlings grow. There
are poems that are fantastical, apocalyptic, about a drowned world, and others that look
at rain as a flow of emotions. Some of the poems are persona poems where I imagine
what it’s like to be a wild creature. I find it fascinating to try and enter a world without human parameters. After all, the best poetry leaves ego behind, and that’s always worth
striving for.

At times, in the face of the night sky, or mesmerised by a murmuration of starlings,
even the idea of writing can seems absurd. The very first poem in the collection,
ironically, is about just that. When you’ve seen the “the impossible exactness” of a
Marbled White butterfly, words can seem a pointless add-on. As Ted Hughes wrote in
Poetry in the Making: “It is not enough to say the crow flies purposefully, or heavily, or
rowingly, or whatever. There are no words to capture the infinite depth of crowiness in
the crow’s flight.”

So that’s the challenge. To be part of nature, yet at the same time its observer and
protector. Poems live as much between the lines as in them – surely an ideal medium for
expressing such a paradox?

Not crows, but herons… watch Claire Booker reading Grey Heron at the launch of A Pocketful of Chalk:


#NationalPoetryDay is the annual mass celebration on the first Thursday of October that encourages everyone to make, experience and share poetry with family and friends. www.nationalpoetryday.co.uk