All posts filed under: Saturday Women Poets

A Saturday Poem by a Woman Author

‘The Dream Clock’ and other visual poetry by Susan Connolly

Susan Connolly’s first collection of poetry For the Stranger was published by the Dedalus Press in 1993. She was awarded the Patrick and Katherine Kavanagh Fellowship in Poetry in 2001. Her second collection Forest Music was published by Shearsman Books in 2009. Shearsman published her chapbook The Sun-Artist: a book of pattern poems in 2013. She lives in Drogheda, Co. Louth.

The Geometry of Love Between the Elements by Fióna Bolger

Caught in the Cross Hairs   I bury my face in the thickness of your hair the darkness, the softness, the smell raw brain sweat, your innermost thoughts desire become scent   beneath the softness the hard skull skin a barrier you need and I want to penetrate   to enter see the wiring observe my image upside down in the back of your head then turn and peer through your eyes   I’d see the world as you   You’ve stolen my tongue   I thought I had the power in dreams I knelt at the chopping board an awkward sacrificial lamb I brought the cleaver down silencing my babble   but you held the knife and while I slept you forced my lips apart and cut at the roots ever the skilled operator you stitched me up needling the thread to connect the severed ends   I can still make sounds some almost words they think they understand but my tongue is in your hands   From The Geometry of Love Between the …

‘Ceathrúintí Mháire Ní Ógáin’ and ‘A fhir dar fhulaingeas’ by Máire Mhac an tSaoi

Máire Mhac an tSaoi poetry Original Irish versions followed by English translations . Ceathrúintí Mháire Ní Ógáin I Ach a mbead gafa as an líon so – Is nár lige Dia gur fada san – B’fhéidir go bhfónfaidh cuimhneamh Ar a bhfuaireas de shuaimhneas id bhaclainn Nuair a bheidh arm o chumas guíochtaint, Comaoine is éiteacht Aifrinn, Cé déarfaidh ansan nach cuí dhom Ar ‘shonsa is arm o shon féin achaine? Ach comhairle idir dhá linn duit, Ná téir ródhílis in achrann, Mar go bhfuilimse meáite ar scaoileadh Pé cuibhreann a snaidhmfear eadrainn. II Beagbheann ar amhras daoine, Beagbheann ar chros na sagart, Ar gach ní ach bheith sínte Idir tú agus falla – Neamhshuim liom fuacht na hoíche, Neamhshuim liom scríb is fearthainn, Sa domhan cúng rúin teolaí seo Ná téann thar fhaobhar na leapan – Ar a bhfuil romhainn ní smaoinfeam, Ar a bhfuil déanta cheana, Linne an uain, a chroí istigh, Is mairfidh sí go maidin. III Achar bliana atáim Ag luí farat id chlúid, Deacair anois a rá Cad leis a …

A note from Olivia Guest at Jonathan Clowes Ltd.

Doris Lessing died a matter of days after I had received permission to carry some of the poems from her Fourteen Poems on this blog indefinitely. I had put up the following note and message and see no reason to remove it. I am happy that I have carried her work for a few years.  I wrote a brief tribute to Lessing’s writing and influence on my writing life here.   Dear Christine We’d be delighted for you to host the poems for longer especially if you’re getting such good reactions. Doris Lessing was never very keen on her poetry and didn’t think it was any good so I doubt we will see a re-issue but at least this way, they are available in an alternative form.   Many thanks and best wishes   Olivia Poems by Doris Lessing Index of Women poets Author and Poet Doris Lessing Open Salon

Transverse threads; two women poets and Homer

The weft of  Margaret Atwood‘s The Penelopiad is contained in and revealed through the chorus voiced by the twelve maids  hung by Telemachus (on Odysseus’ orders) just after the men returned from their manly adventures. Margaret Atwood runs the chorus line throughout her Penelopiad, the executed maids sing their songs at ten intervals in the book. I was struck by a comment that Atwood makes in her notes about the maids. She stated that: ‘The Chorus of Maids is a tribute to such uses of choruses in Greek Drama. The convention of burlesquing the main action was present in the satyr plays before the main drama.’ (Margaret Atwood, Author Notes for The Penelopiad pp. 197-198) I am always interested in how women writers burlesque the heroic perception of the classics through use of device and structural underpinning. In this instance I have been reading Atwood’s The Penelopiad and Alice Oswald‘s Memorial. Both Atwood and Oswald approach Homeric themes in a sidelong fashion to get to the meat of the oral tradition, their poetic focus is decidedly on the lament. Atwood …