ATTENTION POETS: Starting from New Year’s Day, 2026, I’m opening the doors of my ‘Poet In Verse’ website and blog to include a new print journal of poetry! All poets are encouraged to submit work, which will be read anonymously. Prior to submitting, please carefully read and follow the submissions guidelines, which are available on the site:
The ‘Poet In Verse’ website and blog is used as a platform for my poetry and the occasional book review, but I wanted to begin a project in which I could serve other writers, and so the ‘Poet In Verse Journal’ was born. Whether you’re a prize-winning poet or trying to get a poem published for the first time, ‘Poet In Verse Journal’ could be a home for your work and I can’t wait to read it!
My first encounter with the work of Lawrence Moore was on social media via the ‘Poets On Thursday‘ platform on ‘X‘, to which we both made regular contributions. We both enjoy rhyme and meter, so I took a natural liking to his poems, which he structures eloquently, often, though not exclusively, in free rhyming verse. That is to say his writing is not bound by accepted poetic forms and he will explore and experiment with his own, but always with a particular structure and musicality; not dissimilar to my own approach.
It is from this perspective of synergy with Lawrence’s writing that I was attracted to review his new collection, ‘The Breadcrumb Trail‘. Not only is it a beautiful work of poetry but this artistry is complemented superbly by the illustrations of artist, Jane Cornwell, who enhances the charm and enchantment of the book as a whole. With this work, Lawrence has deftly spun an interwoven dreamscape into which he invites the reader. It feels as if he is offering to take you by the hand and guide you through a mystic world of fantasy and magic, against the backdrop of the natural world, which is laced at times with undertones of menace. Cue imagery of forests and dark woodland paths, where fairies and sorcerers are real!
‘The Breadcrumb Trail‘ leads you into the poet’s fairy-tale world.
The decision to frame all of the poems within this fairy-tale world has proved to be a creative masterstroke as it helps thread the work together and add to the sense of journey that the reader experiences from start to finish. Indeed, the book’s title itself hints at this (the ‘breadcrumb trail‘ being how Hansel & Gretel found their way home through the forest in the much-loved fairy tale). It also provides an enthralling setting for Lawrence to introduce a number of poignant strands like love, loneliness, and introspection.
In ‘Their Morbid Measurings‘ the author uses the image of a tree stump, freshly felled and bearing two hundred rings, to reflect on the passage of time and the ways in which we measure our own lives. He contemplates the whimsical notion of being cleaved into units, querying what measurements would best capture the essence of his existence. The tree rings symbolize a life divided into moments—some regrettable, some hopeful— as he walks in solitude, meditating on how the past, present, and future can intertwine in a single moment of solitary observation.
“Walking on my lonesome, Sunday morn, Beyond the average human’s casual reach I chance upon a tree stump, newly felled Two hundred circles wide, four seasons each“
‘Their Morbid Measurings’, from ‘The Breadcrumb Trail’ page 22, by Lawrence Moore
The theme of loneliness is continued in ‘Interstellar‘, a poem that also introduces a profound sense of longing, against the juxtaposition of the personal and the cosmic. The stars are a symbol of distant love and connection, becoming the object of the speaker’s yearning, embodying the belief that something—or someone—is just out of reach. There’s a mythic quality to the poem, where the speaker almost believes that the presence of the stars is tied to their own sense of belonging or connection. It speaks to the universal human desire for intimacy and the tension between the finite self and the infinite universe.
“I look up at the stars and sense that one of them is yours, almost prepared to believe the myth that I could never reach it…“
‘Interstellar’, from ‘The Breadcrumb Trail’ page 47, by Lawrence Moore
As well as longing, it becomes clear that the author also finds peace and harmony in solitary thought. For example, in ‘Swirling in Sync‘:
“Sometimes it’s okay to be alone when the stars and the clouds and the moon intermingle in just the right way,“
‘Swirling In Sync’, from ‘The Breadcrumb Trail’ page 56, by Lawrence Moore
The poem celebrates the harmony that exists in the natural world, offering comfort to the author as he connects with the elements and the rhythm of the universe. The repetition of “swirling in sync” suggests a deep, almost spiritual connection to the natural world, where the author finds a sense of belonging amidst the vastness of the earth and sky.
The reader also gains a sense of the tension between external reality and the author’s own internal world. ‘By Phonelight‘ explores this with imagery such as “aging, twisted oak” contrasted with the glowing “phonelight” that guides his journey. The light becomes a metaphor for the act of reaching out, capturing a sense of yearning for transformation and discovery, as the author wishes for passers-by to mistake him for something ethereal, like a glow-worm, so that he may continue to use words to open windows onto his dreamscape.
“I ask that passers-by mistake me for a glow-worm, that I am left to lever words like windows until they open onto the land I walk in dreams“
‘By Phonelight’, from ‘The Breadcrumb Trail’ page 43, by Lawrence Moore
In ‘Fairies Exist‘, Lawrence takes the reader deeper into his magical realm, where he asserts that fairies exist, offering a vision of hope and fantasy in opposition to the cynicism of society. The poem challenges the conventional and celebrates belief in the intangible. Through a series of contrasts—”sunset red skies” that remain out of reach, “loves lost in retreat,” and the idea of fairies and the breeze—the poem suggests that there is wonder in the world beyond what is visible. In its final lines, the author confidently declares, “Fairies exist and I will be yours,” embracing a sense of agency and belief that defies the mundane.
“Other folks’ loves are lost in retreat, scattered and scarred by first springtime heat, yearn for the forest, hide from the trees. Fairies exist and so does the breeze.“
‘Fairies Exist’, from ‘The Breadcrumb Trail’ page 66, by Lawrence Moore
‘The Breadcrumb Trail’. Illustration by Jane Cornwell
‘The Breadcrumb Trail‘ is a compelling and nuanced collection that captures the full spectrum of human experience. From the reflective melancholy of ‘Their Morbid Measurings‘ to the playfulness of ‘Fairies Exist‘, the author navigates themes of isolation, connection, and the search for meaning. Each poem in the collection presents a unique perspective on the complexities of life, offering both introspective depth and a broader vision of the world. Lawrence Moore’s skillful use of imagery, metaphor, and tone challenges the reader to consider the magic and mystery that lie beyond the surface of the ordinary in a poetic journey that is as thought-provoking as it is emotionally resonant.
Having spent my early childhood in the East Yorkshire seaside town of Withernsea, it holds a special place in my heart, so I couldn’t resist reviewing the work of poet Dean Wilson, who refers to himself magnanimously as ‘Withernsea’s 2nd Best Poet’! Dean has gained great public acclaim and affection for his words, and has also achieved fame for his pebble-picking on Holderness coast beaches which he transformed into a successful social media feature (‘Pebble Of The Day‘), that he ran for almost three years, and now continues that popularity with content for ‘Dean’s Discoveries‘ in the Holderness Gazette. His friend, the writer and producer Dave Lee, has also made a number of short films with Dean in celebration of his work, usually at coastal locations.
‘Take Me Up the Lighthouse’ by Dean Wilson is full of rhyming verse about love, desire, and his affection for Withernsea and the local area..
When deciding which of Dean’s books to review, I was immediately drawn to ‘Take Me Up The Lighthouse‘, perhaps because I used to live in Withernsea and immediately realised the title was both a reference to the landmark white lighthouse that towers over the town, and also a euphemism for some form of amorous activity! Indeed, the title is a perfect abstract of two key themes that seem to occupy the book: Across an incredible 55 poems, the author skilfully sets raw emotions like desire, love, and perhaps also loneliness, against the backdrop of a mundane Holderness landscape. However, this is far from derogatory and acts as a nod of affection to the whole area, which Dean interweaves with his trademark brand of subtle humour. Arguably, not all of the poems deal with these themes, but I think this is something that particularly stands out for the reader. The work is firmly and unapologetically based on rhyming verse, and the rhymes come thick and fast. Perhaps this is best summed up by his poem, ‘Holderness’ in which he references his deep affection for rhyme:
“I’m on the bus to Hornsea there’s no one on the top deck but me I’m rhyming furiously because rhyme sets me free…”
‘Holderness’, from ‘Take Me Up The Lighthouse’ page 22, by Dean Wilson
As someone who shares the author’s fondness for rhyme, this resonated with me as a reader, and I found myself enjoying the simple yet effective way that Dean delivers his refrains and arranges the poems on the page. In many of the poems, the lines are set out in couples, sometimes only two-three words in length, making them accessible to read. This means that the reader can just enjoy the rhyme and doesn’t have to read and re-read each stanza to interrogate and unpick intricate literary devices and meaning. Some of the best writing is arguably that which delivers its message succinctly and doesn’t try to attain greater depth by shrouding itself in mystery and, in this book, the messages are simple and clear. One of those messages is the desire to be loved:
“Kiss me under the pier, dear kiss me ’til my lips are sore and my teeth lose their veneer…”
‘Kiss Me Under The Pier’, from ‘Take Me Up The Lighthouse’ page 11, by Dean Wilson
‘Take Me Up The Lighthouse‘ is published by Wrecking Ball Press
Obviously, the reader can detect the humour within the writing but you can also sense the author’s desire for passion, and this accumulates through the collective reading of each poem:
“…pin me against a haystack there are worst men you could adore
pin me against a haystack your hot hands will help me thaw.”
‘Pin Me Against A Haystack’, from ‘Take Me Up The Lighthouse’ page 50, by Dean Wilson
The poem after which the book is entitled, perhaps encapsulates this emotion best:
“Take me up the lighthouse it’s been quite a while
take me up the lighthouse please don’t run a mile…”
‘Take Me Up The Lighthouse’, from ‘Take Me Up The Lighthouse’ page 45, by Dean Wilson
Many of the poems in the book also reflect on the object of desire and the various men that the author has been attracted by on his travels. Poems such as ‘Guard’, ‘Pipe Fitters’, ‘Yacht’, ‘Kevin Webster’, ‘Gary’, ‘Queen Street‘, and ‘The Lifeboatman‘ all contain subtle notes of that secret desire for the strangers he meets, and are sometimes characterised by Dean’s contemplations of what would happen if his romantic ambitions were to be revealed:
“…maybe we’ll become pals and drink in The Alma together
or maybe he’ll shun me in the street when he realises it’s romance I’m after.”
‘Halifax Dish’, from ‘Take Me Up The Lighthouse’ page 34, by Dean Wilson
The book takes the reader on a ride of rhyme through Dean’s beloved Holderness.
In the poem, ‘And Then Where Would I Be?’, Dean meditates on finding love itself, and the consequences that may have for his poetry, reconciling that the search for love is perhaps what keeps the flame of his creativity burning and allows him to continue writing. To find love, might therefore jeopardise his poetry:
“…Do I really want to wake up
in a big strong man’s arms
if it means never waking
up with a verse?”
‘And Then Where Would I Be?’, from ‘Take Me Up The Lighthouse’ page 40, by Dean Wilson
On the basis of having read this book, I believe the fear would prove unfounded, and finding love would actually steer the author’s creativity in new directions, and of course, I don’t think it would alter his ability to find observational humour in his surroundings (as in ‘Bus 1’, ‘Bus 2’, ‘Bus 3’, and ‘Bus 4’, for example), nor would it dampen his articulation and celebration of his beloved ‘With‘ (Withernsea) and the rest of the Holderness area:
“…roll up your slacks
take off your vest
everyone knows With is the best.”
‘With Is The Best’, from ‘Take Me Up The Lighthouse’ page 60, by Dean Wilson
‘Take Me Up The Lighthouse‘ is a charming take on the world, as seen through the eyes of the author, and you can’t help but smile as he takes you on this ride of rhyme through Holderness, making it a must-read for any aficionado of the rhyming verse.
As someone who is gradually trying to familiarise themselves with the writing talent of their local region of Hull and East Yorkshire; choosing a work by Vicky Foster was, for me, a piece of required reading. Before selecting this particular book I was already very familiar with the author’s name as a respected Hull poet, and Vicky’s own backstory, involving the traumatic experience of living with a violent partner, had received coverage in the media. So, while I plunged headlong into ‘Bathwater’ without fully knowing what it would contain, I did have an intuition that it would likely refer to aspects of the author’s past; this being, unsurprisingly, an apparent stimulus for her writing.
However, what immediately grasped me about this book was its intriguing format, which caught me totally by surprise. It combines playwrighting, poetry, and prose together in an apparently unique way. Admittedly, the last time that I read the script of a play was when studying Shakespeare for GCSE English, so if I have misinterpreted the work and wandered off-track, then my apologies, but my understanding of it is as follows:
The book is divided into three parts. The first features characters comprising Vicky herself, and her son, (named ‘Joseph’ in the story), giving their own narratives of events, each from different respective timelines and perspectives. The two monologues run in tandem and are infused with poetic statements that echo through the pages and timespan of the play. The reader gets a sense of how Vicky and Joseph are haunted by past experiences, which are gradually revealed during the course of the narrative, as well as the tenderness of a mother’s love for her son, and the maternal instinct to protect him through adversity.
The second part returns to Joseph’s previous monologue and presents it as a seamless address to the reader/audience. The book then concludes with an interesting epilogue, entitled ‘Me and D.I. Jones’, written in prose and dialogue. One wonders at the nature of the relationship and significance of ‘D.I. Jones’ in the context of this narrative. It cleverly hints at possibilities without overtly resolving them, leaving the reader to draw their own conclusions. Was there a romantic connection? It hints at flirtation. Or is it about the safety offered to Vicky by this man’s presence in her home; the contrast between what she had previously experienced in that house? There is also distance between them in spite of their explicitly friendly relationship, and the reader discovers how Vicky has gradually been worn down by the persistent threat of harassment from her ex-partner, and successive relocations to increasingly dilapidated lodgings, which in turn appear to have made Vicky feel more and more ashamed and is pushing her away from the handsome, well-presented ‘D.I. Jones’.
‘Bathwater’ by Vicky Foster, is based on her real-life experience of domestic abuse and violent crime.
To return to Vicky’s backstory, it’s worth reiterating that ‘Bathwater’ is based on real-life trauma suffered by the author and her children, which adds further poignance to the narrative: Not only did she endure domestic abuse from her partner (named ‘Tom’ in the story), but she also had to cope with an aftermath that involved the difficulties of single motherhood whilst living under the threat of harassment and aggression from her partner after they had separated and he made repeated attempts to return to the house, ultimately resulting in police protection measures. To add to this, her ex-partner was later violently murdered in an unrelated brutal revenge attack, which had the inadvertent effect of putting Vicky’s name into the public gaze as an ex-partner and mother to his children. This created its own anxieties as she strived to shield her children from the truth whilst grieving for a man she once loved, with whom she tried to build a family life, and who was now publicly labelled and associated with violent crime.
With this knowledge, the reader cannot fail to develop a deep respect and admiration for the author’s resilience and how she has progressed from the experience to become an accomplished writer and, of course, a proud mother to her children, who have also had to live with the emotional scarring.
‘Bathwater‘ is a fascinating and bold use of play, poetry, and prose in its storytelling. With subtle, understated words, the author lends more power and resonance to her story than could ever be managed by thrusting the issues directly into the reader’s face. Issues, such as domestic abuse, harassment, abandonment, single motherhood, protecting a son from the truth about his father, and the experience of childhood with an absent father. It also deals with the anxieties that stem from coping with such situations.
Joseph’s story also resonated with me; his Dad was a firefighter on the Hull fire stations, as was my own Dad, albeit at different times. I felt some synergy with this and also a striking contrast in that Joseph’s father harboured a great deal of anger and torment which, as the author alludes, was possibly worsened by the stresses of his job, whereas my own Dad always created a warm and compassionate environment in the family home. For this reason, I felt sadness for Joseph’s childhood without his father, and the problems this may have caused him in his adolescence, whilst also incredibly fortunate that the stresses of my Dad’s occupation hadn’t impacted negatively on my own childhood and our family life in general.
Across the narrative, there are three focal places or locations that stand out for me as a reader, because Vicky’s experience of those spaces, and their significance for her, appear to change over time. They are: the bath; the supermarket; and the decorated room. At various points in the story, these places may witness scenes of optimism and happiness, representing the hopes and aspirations of a couple in love, starting a new family; but as tragedy unfolds, those same spaces play host to trauma and despair and serve as reminders of shattered dreams.
In the case of the bath:
Vicky: “To him I was a princess. And he would drink my bathwater.”
‘Bathwater’ Scene 1, page 10, by Vicky Foster
Here, the ‘bathwater’ is evocative of the strength and passion of Tom’s love for Vicky at the start of their relationship, but very quickly becomes the scene of anger:
Vicky: “…Suddenly red blooms in the bathwater.
Blood. Surely blood…
…It is Tom’s red wine.
He is in a rage.
His eyes are fists.“
‘Bathwater’ Scene 1, page 14, by Vicky Foster
The ‘bathwater’ has now become sullied by Tom’s violent temper, symbolic perhaps of how it spoiled Vicky’s hopes of a dream family life.
“You do not have to grow where you land.
Rinse and repeat.
Go back to the start
and change the bathwater.“
‘Bathwater’, (‘Joseph’), page 48, by Vicky Foster
Once more, the ‘bath’ again becomes symbolic of renewed hope, with the author’s assertion that the ‘bathwater’ can be changed.
I think that Vicky’s use of these spaces is a clever literary device, grounding the narrative in relatable everyday scenarios, with a bitter twist. With the decorated room, the tone again begins positively, with optimism as Vicky and Tom seek to build a life together:
Vicky: “We’ll shine light in new rooms…
We scratch our names in the old brick.
Etch promises that scatter orange dust
and fade beneath our brushes.
We scratch out a new life…”
‘Bathwater’ Scene 1, page 11, by Vicky Foster
However, once again, the same room (or rooms) become part of the nightmare as Vicky and Joseph are embroiled in the torment of their close connection to Tom, who is now wanted by the police for violent criminal assaults. Those ‘promises’, etched in the brick have now become something to hide in the face of the public gaze, with Tom’s offences being brought to the attention of the media:
Jos: “I need clean white walls to block it out.
“Vicky: “I need four walls to block it out“
Jos: “but sometimes white paint hides dark secrets.”
‘Bathwater’ Scene 4, page 25, by Vicky Foster
This theme continues with the ‘supermarket’, which begins as a place where Vicky feels contented, spending time with her son:
“January 2002. I’m 22 now and Joseph is a smiling two-year old bundle of energy.
I love it here. It’s one of my favourite places. And I know that’s sad. But there you go. I love Asda, what can I say? Usually I come on my own. Just me and Joseph. That’s how I like it best, if I’m honest.”
‘Bathwater’ Scene 3, page 16, by Vicky Foster
With news of Tom’s murder, as part of a revenge killing, Vicky begins to suffer extreme bouts of anxiety through her association with such a widely publicised incident, and the clear emotional conflict of this having happened to the man she loved, and with whom she was to have built an idyllic family life. Suddenly, a public place like the supermarket becomes the centre of a deeply uncomfortable, agonising ritual:
“People are starting to look at me, and I’m not sure if it’s cause they know or whether it’s cause I’m muttering to myself and blocking the aisle. But either way, it’s not good. Think they’re getting to know me here now. Probably sick of loading all the stuff from my abandoned trolley back on the shelves. Last week it wasn’t the tinned fish that freaked me out – sometimes it’s fresh meat; sometimes I get all the way to the freezer aisle – that’s worst. Trolley full of all the things I need to be a good mum.”
‘Bathwater’ Scene 6, page 30, by Vicky Foster
The author manages to convey the experience of panic and anxiety very powerfully in her narrative, and the reader cannot help but empathise with the range of emotions that she must have felt on seeing a man that she had loved become publicly known in the press for violent crime, and his eventual murder. Naturally, this has its effect on her mental health, leading to apparent bouts of agoraphobia, and a battle against these feelings in order to care for and protect her son:
Vicky: “…I can hardly leave the house. The sky’s too big, you see. Daft, eh? But it is. The sky’s too big nowadays.
Too much possibility in all that space.”
‘Bathwater’ Scene 5, page 24, by Vicky Foster
Vicky: “My hands are deep inside my pockets, but my arms – my arms are holding off the sky. They are painting sunshine into his days.”
‘Bathwater’ Scene 5, page 27, by Vicky Foster
The story of Vicky and Joseph’s suffering does, however, have a silver-lining, which is neatly analogised with this line:
Vicky: “Sometimes people have made a mess and it took a lifetime to get my floors clean.”
‘Bathwater’ Scene 9, page 39, by Vicky Foster
I think that, when you evaluate the journey that the author has made to become the writer and mother she is today; it could be said that Vicky Foster’s ‘floors’ are indeed now pristine, for she has transformed herself from a victim of abuse into a much-acclaimed author and poet, as well as raising her children in the process, helping them navigate through that emotional minefield and emerge into adulthood. In all honesty, the accomplishment is astonishing and should be seen as a source of empowerment for any women who may have the misfortune to find themselves in a similar situation today.
‘Bathwater’ could be regarded as the literary rendition of that journey, bravely addressing the misery of abuse, acknowledging its scars but ultimately, and crucially, arriving at hope. It is, to my mind, a truly powerful piece of writing that more than earns its place in the annals of domestic abuse literature.
(Vicky’s play was broadcast on BBC Radio 4 as part of the BBC ‘Contains Strong Language’ Festival in 2018, and you can watch her being interviewed about it on the Festival webpage .
I have had a fascination with all things Space-related since I was a boy, and so when I began writing poems I knew that it would only be a matter of time before my poetic gaze turned to the stars. That time came in October 2022, when I began to draft out a poem about the planet, Jupiter. I may have seen something on television, in the news, or perhaps came across a picture of it, I can’t fully remember what prompted me, but as soon as I began I was hooked and wanted to write about another planet. For my second planet, I chose Neptune and it quickly became clear that a poetic representation of all the planets in the solar system was calling, but could I be bothered to complete a full set of planetary poems? I decided not to pressure myself and just write about a different planet whenever it took my fancy, in amongst my everyday writing.
“In a poetic sense, we could be regarded as a solar family of worlds…”
It was early on in this process that I also took the decision to include a technically ‘non-planet’ in my series; the dwarf planet Pluto. Throughout my childhood, Pluto had been asserted as the ninth planet in the solar system and so I had developed the same affinity to it as the the other eight worlds (Mercury, Venus, Earth, Mars, Jupiter, Saturn, Uranus, Neptune). However, it was de-classified as a planet in 2006, which left me with the problem of how to justify its inclusion in my collection of planets poems. I won’t go into the scientific rationale for its de-classification here, as I write about poetry, not science, but I retained the tiny ice world of Pluto in this collection for that same reason: In a poetic sense, we could be regarded as a solar family of worlds and, as many families tend to have their so-called misfits, then perhaps Pluto plays that part in our solar system.
(I chose to add Pluto to the collection, with the eight official ‘planets’ in the solar system).
I continued to write a poem about a different planet every few weeks. A key source of inspiration for me in all matters ‘Space‘ are the BBC Studios Science Unit documentaries with Brian Cox, on whom I depend to learn and understand about the Cosmos! The NASA website is also a valuable source of information and learning. This helped me to merge factual content with poetic interpretation in each of the poems, and by the New Year of 2023 I was in full swing, writing planetary poems in succession.
I ensured that the final planet I wrote about was Earth itself, because I wanted to be able to emphasise its value and importance within the broader context of the solar system, and the Cosmos. So, I needed to see how the other poems read before turning to Earth, so that I knew what tone to apply to it. I think that many of us know intuitively that our home planet is fragile and precious beyond measure, owing to it being a source of abundant life (including us of course!), and these qualities were reinforced to me when writing and contemplating the other planets. There is undoubted and spectacular beauty amongst the stars, but there is something particularly awe-inspiring about the phenomena of life itself, irrespective of the physical scale of the Cosmos.
While I was in the process of creating my nine-poem collection, a submissions callout was advertised by Green Ink Poetry, asking for poems relating to ‘Cosmos‘. I duly submitted three poems for consideration, and my poem ‘Jupiter’ was accepted and published in their edition in February 2023. This was really pleasing to see as I felt that it gave me confirmation that the style and approach I was using for the poems was effective and that others would find it enjoyable to read. It was a real thrill to get an acceptance from a respected online publication like Green Ink Poetry.
With the collection completed in the same month, I needed a title. I couldn’t simply name it ‘The Planets‘ as that was both unoriginal and inaccurate due to Pluto’s inclusion, so I wanted a word to describe a set of nine things, in the same way that a quartet describes four, and an octet describes eight. I found the word ‘Nonet‘ in the dictionary and provisionally called the collection ‘The Planetary Nonet‘, but at the last minute discovered a nonet is in fact a specific type of poem itself, making it a misnomer for this work. Further searching of the dictionaries revealed another word for a group of nine; an ‘Ennead‘ (pronounced ‘enn-e-ad‘). This was great, as I felt that ‘The Planetary Ennead‘ gave the collection a suitably epic feel.
” ‘Ennead’ [enn-e-ad] – a group of nine.”
merriam-webster.com
The question of how to share these poems was actually more difficult than writing them as I felt that independent printing presses were unlikely to accept a collection of nine works, it being too small. I was also enthusiastic about putting these poems out there as soon as possible and didn’t want to wait months for a response from publishers, only to find that no-one was interested because the collection was too short, so a colleague suggested I try Lulu Online Publishing. I had always shied away from going down the self-publishing route because I desperately wanted the validation of an independent publisher to qualify my work, but the situation with ‘The Planetary Ennead‘ seemed right, and I was excited to get the work out into the world! It took some persistence and an elevation of my Microsoft Word abilities to a new level, in terms of formatting, but I eventually was able to design a 30-page publication for paperback, hardcover, and ebook, using Lulu’s bespoke templates. I was very pleased with the result and, after ordering proof copies and producing promotional materials, all that remained was to organise my launch event.
From time-to-time, I attend the Wotlarx poetry and spoken word open mic event at Wrecking Ball Arts Centre in Hull, England, and it was here that the poet, Richard Harries, once announced that he was launching his new book at The Brain Jar cocktail bar on Trinity House Lane, also in Hull. This happened while I was in the middle of writing The Planetary Ennead and so, when it came to choosing a venue, I immediately thought of The Brain Jar. One Tuesday morning, I popped down to Trinity House Lane to make my enquiries. I found that they were closed to customers, the mesh gate over the door indicating as such. However, perhaps due to fire regulations, both gate and door were unlocked, so I crept through and entered. I introduced myself to the manager, Matt, and once he knew my plans he couldn’t have been more helpful. I was offered one of the lounges on the first floor, and use of their public announcement system for music and readings. After discussing my plans, the date was set for Sunday 21st May, from 1-2pm. I chose this time because The Brain Jar regularly hosts its Big Brain Sunday Quiz from 2-5pm and thought I might be able to attract some of their regular punters to arrive early by hosting a special ‘Planet Puzzler Quiz‘ of my own.
(With the date and venue fixed for my launch event, I began distributing flyers & posters across the city.)
The next three weeks were spent marketing and promoting my event – very exciting! I trekked all over Hull, handing out posters and flyers on the street and in bars and cafes, and even got a couple of slots on BBC Radio Humberside, firstly with David Burns (‘Burnsy’) on his morning programme, and then Phil White on his Saturday morning show. Being on Burnsy’s show was particularly interesting, and horrifying, because in the minutes before I was due to receive the phone call to come on the air I heard them announce that they would be speaking to another poet before me; none other than Dr John Cooper Clarke himself! This, coupled with the fact that they were billing me as a ‘poet‘ ‘alongside the man responsible for the “most famous poem in British History”(‘I Wanna Be Yours’) just sounded ‘insane’ to my ear, and I immediately turned off my radio in fright! The interview actually seemed to go well in the end, and all credit to my local radio station for offering fledgling poets like myself a platform, and treating us with such deference and respect alongside established and renowned performers.
(The ‘Burnsy Show placed me on their roster as a local poet. It was only while waiting for the interview that I learned I was going to be sharing the ‘Culture Hour’ slot with Dr John Cooper Clarke!)
I was happy with the promotional push I gave to the launch, and finally the moment of truth came on Sunday 21st May at The Brain Jar. The turnout was lower than expected, but building a general interest in your work can be a slow-burning process and I didn’t view the launch as a ‘make-or-break’ event, but one of a series of promotional activities for The Planetary Ennead. Whilst I have never jumped at the opportunity to perform in public, I’m always prepared to do so in order to get my work out there. I actually write for the printed page, but in this mass media world, I think it is a necessity to ensure that you also perform content either in person or on social media, in order to generate awareness of your work.
(Getting things ready at The Brain Jar cocktail bar in Hull).
I must give particular thanks for the support shown to me by Dave and Polly Pattison (the hosts of Wotlarx), friend from work Sarah C, and Isobel, who arrived having received one of my flyers, and swept the board with my prize quiz; a NASA mug and solar system-themed bedside lamp ( I feel like I may have gained a new fan!). The team at The Brain Jar were also fantastic; their manager, Matt, in sorting out the logistics, and then on the day Rob, Alex, and Yasmine, were all brilliant in helping me get set up. It’s a really supportive and welcoming space for creatives to showcase their work and I would highly recommend it to anyone wanting to launch their material.
So, my poems of the planets are finally out here in the world (or, rather, outer space!) and I am delighted. I hope to do more promotions of this collection in the future, which is available to buy online at the Lulu Bookstore. I do hope you will read it, whether that be the paperback booklet, hardcover, or ebook. The latter is also on global distribution, so you can find it on most online ebook retailers.
I began writing poems in earnest at the tail-end of the pandemic restrictions in the UK, around April 2021, admittedly without having previously taken much of an interest in poetry nor really engaged with the genre, other than what I had absorbed through a limited exposure in my school education; which led to vague memories of First World War poets and familiarity with names such as Ted Hughes, George Bernard Shaw, Phillip Larkin, and Alfred Lord Tennyson (though to my shame, without much recollection of their work).
The line, “Dulce est decorum est, pro patria mori” (roughly translated as “It is sweet and fitting to die for one’s country”) has always stuck in my mind from school English lessons in poetry, as a piece of poignant First World War literature, but even then I mistakenly attributed it to Edward Thomas, when in fact it was by Wilfred Owen (my thanks to the mighty ‘Google’, and sincere apologies to both poets!).
‘How To Be A Dressing Gown’ is the debut chapbook by Charlotte Oliver.
So, with my new-found interest in writing poetry, coupled with an embarrassingly scant knowledge of poetic works, I wanted to learn more about the genre and actually read the work of some actual poets.
Given that this is the first book of poetry that I have read cover-to-cover, you may consider me under-qualified to review the work, however, I believe that anyone has the right to be moved or engaged by a poem, whether they’re a connoisseur who can recite Homer’s ‘Odyssey’, or have never read a poem before in their life. So, I approached Charlotte’s debut work from my fresh-eyed perspective, hungry to absorb her creative statements and learn more about poetry.
I chose ‘How To Be A Dressing Gown’ because I had been researching poets in my region of Yorkshire, and Charlotte Oliver’s name was prolific as being a well-reputed local poet, both in print and as a performer, in particular at South Cliff Gardens in Scarborough, and as a ‘Saturday Poet Laureate’ for BBC Radio York on Harry Whitaker’s show.
I had also found her to be very gracious in sharing some of my own work on social media when I nonchalantly (and perhaps, arrogantly) tagged her in some of my tweets! This spoke to me that here was not only a very talented and gifted writer, but a warm and kind person, very open to encouraging the creativity of others as well as her own. I think this warmth and kindness radiates through her book, and in part forms the essence of the collection. Adding to this was the receipt of a personalised handwritten note from the author herself, thanking me for my purchase. When a reader receives such a gesture, it is immediately clear that the work has been crafted with love and sincerity.
The book arrived, signed and with a personalised note from the author!
For me, ‘How To Be A Dressing Gown’ feels like an invitation into the writer’s family home, to be given a window into her thoughts and an intimation of the warmth and love that surrounds her in that place. As a result, the poems are interwoven with references to everyday objects or occurrences, maintaining that connection with the ‘household’ and associating the mundane with something deeper and more symbolic. The title itself is an indication of this, tugging at the reader’s curiosity and begging the query of what is meant by a ‘Dressing Gown’ in this context, and inviting us to find out.
With its first poem, ‘My People’, the book makes the important assertion of where Charlotte is coming from as a writer, her proud and traditional family upbringing, where perhaps her poetic creativity could be seen as breaking the mould:
“I come from people who
do not say,
who assume you know,
who are afraid of words.”
‘My People’ by Charlotte Oliver
As a reader, this helped set the context for me of the various references to family that follow throughout the rest of the collection, and gave me an idea of the kind of ‘home’ I was being invited into. Charlotte’s warm and endearing homage to her grandmother, ‘Song Of My Granny’ is perhaps one of the best examples of her reflections on family life in the book and it exudes warmth and affection for all the happy times spent in her company. It draws heavily on references to furniture and food to skilfully create a vivid image of being at home with granny, re-living those moments and seeing it all again through a child’s eyes, such as the remark about her false teeth as:
“…your dazzling set of pink-gummed fish
freed to swim each night.”
‘Song Of My Granny’ by Charlotte Oliver
This presents a wonderful image of a child’s view of her grandmother, and one that many of us can relate to. We all generally have fond recollections of our grandparents, and the writer appeals to that sentimentality with her own unique and almost playful interpretation:
“Oh granny, your lap was paradise!
You small and wrinkled angel haloed by delightful tales…”
‘Song Of My Granny’ by Charlotte Oliver
The poems ‘Yorkshire Puddings’ and ‘Mum Gets Ready’ also exploit that technique to great effect, but it would be categorically wrong of me, however, to suggest that this book is simply a charming reflection about family; it is more than that. There is much depth to this collection, and some of the poems appear to contain a vague wistfulness, even sorrow, of the kind that might invade ones thoughts while sitting in an empty house, or during the solitude of an afternoon walk. The poem, ‘Her Secret’, which I feel could be self-referential, hints at a buried sadness and anxiety:
“…she stared hard and let the tears dry up
before they began their hot trickle…
…It took a while to realise that the tooth-grinding
was probably part of all this…”
‘Her Secret’ by Charlotte Oliver
This melancholy is resolved beautifully at the end by alluding to the discovery of writing and poetry as the catharsis to those feelings. It could be said that this is true of all those poems in the collection that deal with difficult or emotional subjects, with the writer tempering any wistfulness by adding notes of hope.
Indeed, this is exactly what the collection itself tends towards with one of the final poems being entitled ‘Hope’. In this work Charlotte articulates the loss of ‘hope’ itself but, by animating and illustrating its quality she also demonstrates that it is not altogether gone:
“I don’t remember what it used to be like,
just the clatter of freedom like waves on a pebbled shore,
and eternity’s breath on my bare neck…”
‘Hope’ by Charlotte Oliver
The chapbook is recommended by a number of well-respected poets, as indicated here on its back cover.
I should say that, in my own work, I write in rhyming verse, perhaps as a result of that early exposure at school to First World War poetry (which someone once suggested I may have absorbed by osmosis!). Whatever the reason, this seems to be my current tendency as a writer, so I found reading ‘How To Be A Dressing Gown’ doubly fascinating because it gave me an introduction to imagistic poetry and the way that writers can use words to conjure beautiful images in the mind. I would even go a step further and suggest that Charlotte’s work succeeds in transcending this by articulating other senses; I could almost smell those Yorkshire Puddings in her poem of the same name, and taste the comfort of a sponge pudding and many other foods that she refers to throughout the book!
There can be no doubt of this collection’s intimacy and the author’s invitation with open arms for the reader to delve into her mind and world. This is perhaps most evident in the poem ‘Afterwards’, which is written so deftly that it was not until halfway through that I suddenly felt quite abashed on realising that, as a reader, I had been transported to the bed chambers of the writer’s home where, if I have interpreted correctly, I was now in the aftermath of some intimate moments having been shared between the writer and her husband! By spacing the words far apart on the page, Charlotte adds emphasis to the quiet and stillness of the moment, a brief time of breathless reflection that followed the intimacy:
“free_______empty________blank
________________in that moment
feet warm at last.”
‘Afterwards’ by Charlotte Oliver
The poem is a beautiful articulation of the writer’s thoughts and feelings immediately after being intimate with her partner and again reinforces the theme of warmth, love and contentment in the family home that runs through the book. I think this may be why the collection adopts ‘How To Be A Dressing Gown’ as its title, because which household item holds better synergy with that sentiment of homely warmth and comfort than a ‘dressing gown’?! It is fair to say that in the poem of the same name, Charlotte creates some really vivid description of how it feels to be in your dressing gown, equating it to a ‘hug’, and you can almost feel yourself reaching out for your own dressing gown and wanting to wrap it around you!
“You have the power of an unexpected sponge pudding
with custard…”
‘How To Be A Dressing Gown’ by Charlotte Oliver
Charlotte Oliver is based in Scarborough, North Yorkshire, and has worked on poetry and arts events and activities for the South Cliff Gardens Restoration Project (photo by Sam Bartle).
It is as though the poem is a set of instructions to the dressing gown itself, elevating and personifying it as a sentient member of the home, with its own part to play in permitting some downtime for the wearer, and if this is the meaning of the poem, then perhaps the collection as a whole could be interpreted as a form of self-help guide, or perhaps it is simply the signature poem that defines the essence of the collection. I suppose it is for the reader to make up their own mind but, either way, Charlotte Oliver has boldly announced herself to the poetry community by writing with an openness and affection for those close to her, that should be the envy of many a poet.
Poetry and Spoken Word Night at Union Mash-Up, Hull
When first embarking on my poetic adventures, it used to feel as though the opportunities to actually perform my work were few and far between, but in 2022 I discovered ‘Away With Words‘, a poetry and spoken word open mic night organised and hosted by legendary Hull poet, Jim Higo. This free event has been running since 2012, so is over a decade old and, whilst it’s had different venues across the city of Hull during its lifespan, it now occupies the ambient rooms of Union Mash-Up on Princes Avenue. The event is renowned in Hull as a forum for celebrating and supporting local creatives. As soon as you enter the doors of the building, you instantly get a welcoming and intimate feel from the place, and that’s in no small part thanks to Jim Higo and the passion and commitment he has invested in the event, right from its very beginning.
Having learned of this event from some other poets, I decided to give it a go myself and see if I could muster the courage to read a few verses. So, one evening in the early Spring of 2022, I went along to Princes Avenue, Hull, to share a few lines with an unsuspecting public.
Reading from my poem, ‘The Omega: Dark’ at the ‘Away With Words’ poetry and spoken word night, Union Mash-Up, Hull (Image: Jim Higo)
The Union Mash-Up is a bar and restaurant that plays host to arts and cultural events on its first floor. The venue is converted from former residential premises and there are charmingly nuanced traces throughout the building, that reveal its former use as a home; perhaps none more revealing than the old fireplace directly behind the stage! Once you ascend the old staircase you’re greeted by a wall of warmth, generated by the gathering crowd and the relatively small space. It actually feels rather cosy, and everyone is there to have a good time and listen appreciatively to what all the poets and spoken word artists have to offer.
The friendly atmosphere of the venue helped to put me at ease as I took my seat, pint of pale ale in hand, wondering if my drink would help add to the sense of relaxation, or render me slightly too tipsy to read properly! Jim was working his way down the rows of seats, taking down the names of people who wanted to go up on the stage, and allocating the running order. When he came to me, I elected to do my stint in the first half of the evening, deciding that it would be better to get it out of the way as early as possible and save my nerves. After registering as one of the poets for the night, I sat back and waited to see what happened next, the dim light of the room adding to the anticipation.
“It’s about celebrating the range of works, performances, and creativity that the city has to offer, and so it really doesn’t matter whether you have a finely tuned stand-up routine, or are just reading from your mobile phone.”
About three or four performances in and a sudden wave of fear came over me as I watched in awe at the polished professionalism of the people taking to the stage. It was clear that a number of the performers were accomplished entertainers, generating huge laughs from the audience through their spoken word acts. As a fledgling poet, who would consider it a success just to read a few poems from his tablet, I wondered for a moment if I’d made the right decision, but this is the beauty of the ‘Away With Words‘ event; all are welcome. It’s about celebrating the range of works, performances, and creativity that the city has to offer, and so it really doesn’t matter whether you have a finely tuned stand-up routine, or are just reading from your mobile phone. Everyone is welcomed and encouraged. As the night wore on, I could clearly see this was the case and so as my turn approached I was much more reassured.
“I got on the stage with my tablet and began to read to the audience my rhyming verse about the harsh reality of alcoholism as they supped their pints of real ale and sipped at their cocktails!”
I like to write all kinds of rhyming poetry, both light and dark, and I’d recently shared a particularly contemplative poem on social media , called ‘The Omega: Dark’, about the experience I had living with an alcoholic landlord, who tragically died. After doing this, Lucy Clark (formerly of BBC Radio Humberside) commented on my post and said I should do ‘Away With Words’ at Union Mash Up. I took this to mean that I should read my dark, brooding poem at this event, so I now had it lined up on my tablet, ready to go on the night. After soaking up the atmosphere though, I could see that most people seemed to have come here for a night out, to be entertained, and I began to doubt Lucy’s advice about reading my sinister little poem! With hindsight, I think she just meant that I should go along to the event and do a reading, but it was my plan now to read this particular poem and I was sticking to it.
My poem, ‘The Omega: Dark’ looks at the tragedy of alcohol abuse. (Image: Segev Vision, Pexels)
I got on the stage with my tablet and began to read to the audience my rhyming verse about the harsh reality of alcoholism as they supped their pints of real ale and sipped at their cocktails! I felt like I was going to be heckled as some sort of Puritan preacher, but despite feeling like I’d misjudged the whole thing, the audience were brilliant and so appreciative, which I think signals what a great and welcoming event ‘Away With Words‘ is for anyone who just wants to come and try out their work on a public audience. After reading ‘The Omega: Dark‘, I rattled off a couple more poems that were less stark, but still fairly traditional works. For me, it was ‘mission accomplished’ and actually a great feeling to have played a small part in the evening.
Sadly, the shift pattern of my day job has since clashed with every ‘Away With Words‘ night this year so I’ve been unable to get back again. If it comes to it though I’ll try and get some time off and return to have another go. Hopefully, next time I’ll be able to try out some of my lighter material!
Earlier this year, my poem, ‘The Passing Year’ was published in issue 16 of Pomona Valley Review. It was both gratifying and reassuring for me that editors Clem and Whitney chose to use the poem, as I’m particularly fond of it and had already been rejected by eight other publications. Had I not been so attached to it, then I may have decided to abandon the pursuit to publish and leave it on the proverbial backburner, while I concentrated on submitting other works. However, my persistence paid off on this occasion, and I’m so glad that I continued to enter submissions!
Even without the upheaval and turmoil of the COVID-19 pandemic in the past few years I still think it’s fair to say that, when we all look back on our lives over any given year, we experience and bear witness to an incredible range of highs and lows during that short timespan. It’s this bittersweet sense that I’ve tried to encapsulate with ‘The Passing Year’.
“I can’t fail to wonder at all these things, to be amazed by what the passing year brings.” from ‘The Passing Year’ by Sam Bartle. (Image: Bogdan Dirica. Pexels)
It observes the struggle and hardship caused by adversity and how we try to keep going until we encounter better times ahead, but for me it’s also a reminder that when those good times arrive they must be enjoyed and savoured. The places we go to in our lives can play host both to experiences of love and happiness, or hatred and sadness, so our memories of those places can become bittersweet as well, which is something I’ve tried to reflect with the lines:
"These different worlds all in the same space, In transience, come and go from your sight."
Read Issue 16 of ‘Pomona Valley Review’ here, where you’ll find ‘The Passing Year’ at page 228.
When I first started out on my poetic adventures amidst the COVID-19 pandemic, I didn’t consider that drifting into the airwaves with my poems would be one of the consequences, but it seems that writing breeds an unending quest for an audience, especially in this genre, where most of the platforms for publication aren’t immediately obvious, nor particularly mainstream. So, it was a refreshing surprise when I discovered BBC Upload.
I’d often enjoyed listening to Lucy Clark’s Sunday Afternoon Show on BBC Radio Humberside, especially during the pandemic, and so when she announced that she’d be covering Martha Mangan’s ‘No Filter’ programme, showcasing local creatives, one Monday evening in May 2021, I made a point of tuning in. I already knew, from listening to her shows, that Lucy was a poet herself and had a keen interest in poetry, so it piqued my interest when she put a callout for people to send in their poems via the BBC’s‘Upload’ feature online. I was enjoying the programme, which was playing the work of local musicians and writers in the region, and thought to myself that I would give it a ‘bash’ and send something in, as it seemed like a good vehicle for reaching more mainstream audiences.
I began my Adventures In Upload on hearing Lucy Clark’s callout for poems on BBC Radio Humberside
The topic for my entry was climate change. I was in the middle of writing a poem reflecting on the climate emergency, and given this is one of the most talked-about issues, I felt it might stand a better chance of being selected. I think the poem was also experimental in the sense that I tried to use rhyming ‘sextets’ as opposed to couplets, which had the effect of laying on the rhymes quite thickly. After hovering over the ‘Send’ button for a while on the Upload site, stood on the proverbial precipice, I found the courage to click it and my work shot into the BBC Upload ether, possibly never to be heard of again.
However, incredibly, I heard back in under 24 hours and on Monday 21st June 2021 at 7pm, I was on the ‘No Filter’ programme, talking to Martha Mangan about my climate change poem! I’d literally just started writing full poems so didn’t feel at all qualified to answer Martha’s very respectful questions about my ‘creative process’, but gave it my best shot anyway.
‘On Beautiful Sky’ (poem by Sam Bartle)
Feeling More At Ease
I don’t know how other writers feel but, for me, the prospect of being ridiculed or laughed at is probably the biggest source of anxiety in showcasing my poems. I think this is what makes ‘Upload’ such a great initiative, because it encourages and celebrates people who come forward with their creative forms of expression, giving everyone a safe space to air their work.
So, it was lovely to chat with Martha, I felt very welcomed and encouraged about what I was writing, to the extent that I decided I would have a go at sending in some more poems. At this point, I think various shows and schedules were being re-jigged in local radio, as it took a bit longer this time before I heard back, but as we emerged into Spring 2022 I was contacted by the Upload Show for BBC Radio York to see if I wanted my poem,‘Everyone’ , to be featured on their programme. At the time, they were also broadcasting to the BBC Radio Humberside catchment as well, so I guess this was broadening my reach, so to speak. I appeared on George Smith‘s programme in the evening on Wednesday 9th March 2022 and had a great time talking to him about how I started writing poems during the pandemic, and was working on a website called ‘Poet In Verse’!
‘Everyone’ (poem by Sam Bartle)
After this latest feature on Upload, I had to do a little double-take on myself as I realised I was starting to feel oddly at ease with the idea of sending in poems for them to be played on local radio – because this sort of thing is counter-intuitive to my nature! Whilst I still do feel a little daunted and nervous about doing it, I’m not overwhelmed by those feelings to the point where it prevents me from taking the plunge and submitting my work.
On reflection, I may have found the reason why this is the case: As part of my day job, I occasionally need to promote local history and heritage projects through local media, which sometimes involves giving interviews for local radio, including BBC Radio Humberside. For me, I think this has gradually had the side-effect of normalising the idea of speaking on the radio. In particular though, this is due to having had the opportunity to meet brilliant reporters such as Caroline Brockelbank, whom I feel ultimately have really helped to give me the confidence to approach BBC Upload, by making the organisation as a whole seem more warm, friendly, and less intimidating to me.
Meeting brilliant reporters like Caroline Brockelbank in my day job has helped give me the confidence to approach BBC Upload with my work.
The opportunity to chat with Caroline, with her charismatic, yet down-to-earth and approachable manner, has meant that any mystique, or nervous preconceptions I may have had about the BBC have been eroded and this, combined with the positive and encouraging nature of the Upload platform itself, has left me feeling much more inclined to share what I create.
Springing Forth
‘Springtide Bright’ (poem by Sam Bartle)
For my next Upload submission, I chose to send in the latest poem in a quartet I was working on about the seasons. I’d decided to write about each season as it began during the year, so that I could draw a little inspiration to begin the poems, although they’re mostly based on our stereotypical imagery of the seasons in the UK, in order to create a vivid scene. I was invited to take part in George Smith’s Upload Show on BBC Radio York on Wednesday 21st April 2022 to talk about the Spring edition of this quartet; ‘Springtide Bright’. The show is a section of George’s main four-hour programme from 6-10pm on Wednesday evenings when, between 7 and 8pm, he showcases one or two submissions, which can include the full range of creative works such as songs, poems, short stories, comedy sketches; basically, anything creative.
George Smith is on BBC Radio York, Wednesdays 6-10pm, where he presents the Upload Show 7-8pm (Image: BBC Sounds)
I’m always pleased when I’m selected for an Upload Show as it’s one of the main ways in which I can try out my poems on a mainstream audience. George has a great ability to maintain light and humour in his on-air conversations, and I guess that’s fortunate because I weighed in with a really heavy poem for my latest one, all about war and conquest through the ages, called ‘Heart Of Power‘, which had just been translated into Chinese by Poetry Lab Shanghai!
‘Heart Of Power’ (poem by Sam Bartle)
Branching Out
Having by now had three of my poems featured on BBC Radio York’sUpload Show, I was definitely feeling in the groove with things. I began to look through my work for other upload-worthy material and realised that I’d written some about specific places other than where I live, so wondered if these might be of interest to the relevant Upload Show for that region. Ever since first visiting Northumberland around ten years ago I’ve loved the place, and in between COVID-19 lockdown restrictions it became a peaceful retreat for me. Following a week’s holiday there in 2021, I wrote a poem in homage to Bamburgh, one of the many beautiful places that I visited on Northumberland’s spectacular coastline. The nearest local radio station on the Upload website was BBC Radio Newcastle, so I submitted it there and, sure enough, was invited by the show’s presenter, Tamsin Robson, to chat about the poem.
Tamsin Robson is on BBC Radio Newcastle, Wednesdays 8-10pm, where Upload submissions are featured 9-10pm (Image: BBC Sounds)
Entitled ‘Atop The Dunes o’ Bamburgh‘, it’s a kind of postcard poem drawing out all of the key features that stand out for me when visiting there. On Wednesday 3rd August 2022, Tamsin pre-recorded a chat with me that aired later in the evening, in which we both reminisced about the area; Tamsin on her childhood visits, and myself talking about recent holidays. I also declared my affection for the North East in general, having been a student at University of Sunderland!
‘Atop The Dunes o’ Bamburgh’ (poem by Sam Bartle)
Tamsin had previously asked if I’d written any other poems about the North East, and it so happened that I had a similar sort of poem for the town of Seahouses, about 3.5 miles south along the coast from Bamburgh, written during a visit earlier in June 2022. It’s called ‘Around Seahouses’ and Tamsin very kindly played this as well.
‘Around Seahouses’ (poem by Sam Bartle)
To be included on the Upload Show for BBC Radio Newcastle was great for me as it was a way of getting my poems out to even more people in the mainstream via a different local radio catchment, and I also loved chatting about the North East, which has played a big part in my life (perhaps at some point I’ll do a ‘Days Of Sunderland’ poem!).
At time of writing, the show is still available on BBC Sounds and you can listen to our chat (at 1:11:38 in the recording) here.
Looking back, all the poems I’ve sent to BBC Upload have been contemplative, reflective works, which isn’t actually representative of everything that I write, as I also cover silly, trivial subjects as well. My chats with George on his show have revealed that the latter is where his own preferences may lie, as my poem ‘Bin Day’ has stood out for him here on the ‘Poet In Verse’ website.
So, I guess that my mission now is to mix things up a bit with a light poem for my next submission! My thanks to BBC Upload for this platform, which I recommend to anyone out there who is creating something and wants a positive and encouraging environment in which to share their work. Long may the initiative continue.
Blue River Review publishes poem from my ‘Seasons Quartet’
Back in October 2021, I decided to write a poem that tried to paint an image of a stereotypical English Autumn (known of course as the ‘Fall’ in the United States). Since then, at the turn of each season, I’ve attempted to do the same for the others, drawing partly on actual observation but largely based on the widely accepted characteristics of the seasons, which I tried to animate as much as possible. I’m delighted to announce that the third poem in that quartet, ‘Springtide Bright’, has been published by the Blue River Review Journal, and my sincere thanks to editors Whitney and Clem for giving this poem a space in their publication.
The poem uses natural features such as daffodils and snowdrops to try and draw a picture of an idyllic Spring. Image: Pexels (Suzy Hazelwood)
It attempts to convey the gentle warmth of Spring, and uses natural features such as daffodils, snowdrops, cherry blossom, primrose and birdsong to help draw the picture of an idyllic Spring day. Hopefully it works! At some stage I hope to publish all four poems collectively as a ‘Seasons Quartet’ so they can be read together, but for now I hope you enjoy reading ‘Springtide Bright‘ and other people’s poems on Blue River Review!
Poet in Verse 