Pink Is A Sister Sick
with sweetness. Bright;
they never protest.
Fat lashes fan those
blood blushing milk,
bones so high and hollow
nothing but dirty pebbles
and rust for treasure; I
I’ve got a perverted
discarded boiled sweet.
I’m strutting stratospheric,
My mother was here before me,
— our platinum gilted heirloom hops generations and genders,
thickened with blood and tear-streaked shrieking saliva.
souped up and bursting,
and I am the airborne acrobat
New York’s summer breath
a parting of seas in the
held to ransom by
Skull shards shift tectonic
the searing stretch of emergence,
and it breathes.
The bed sheets are soiled
and writhing in it,
a God complex
I cut my teeth on you;
I bared my legs, but
I kept my hair down
We’d play pool –
that one night when
I’d Be Queen of Myself (if I weren’t anti-monarchy)
I could sing
I was bright that day,
But I’ll settle
that it can’t last
– it won’t last –
until it slips
the lights dim, I watch
Pink is a Sister Sick & other poems are © Seanín Hughes
Daughter, please hold my hand. There is rain coming; look — a congregation of heavy promise
hold my hand?
|Seanín Hughes is an emerging poet and writer from Cookstown, Northern Ireland, where she lives with her partner and four children.
Despite writing for most of her life, Seanín only began to share her work in late 2016 after penning a number of poems for her children. Prior to this, she hadn’t written in a number of years following the diagnosis of her daughter Aoife with a rare disease in 2010.
Early 2017 brought a return to writing in Seanín’s spare time and since then, she has completed an ever-increasing volume of new poetry. Drawing from her varied life experiences, Seanín is attracted to challenging themes and seeks to explore issues including mental health, trauma, death and the sense of feeling at odds with oneself and the world.
Happy Days in Sunny Newcastle
What Did You Say?
Fultons Fine Furnishings
The glass hall’s empty except for a sellotaped notice
to show the pilgrim to the upstairs cafe,
where a waitress tells me
the place was shut down months ago,
and we say the words to each other –
receivership, jobs, recession,
antiphon, call and response.
The restaurant will continue to trade
in spite of the recklessness of their banking partners
and their agents.
The Private Dining Room’s a locked royal chapel,
and the nave a funnel of celestial light
within the shadowy void
as the escalator carries you upwards,
a ladder of souls,
to vacant room-sets, side-chapels,
frescoes, marble and parquet altars
sealed off with swags of tape.
Shaded lanterns burn on their chains
as in Toledo of the captives
and the faithful still meet for conversation,
broccoli bake and apple tart,
in their breaks from the industrial estate,
retail park, car dealership, warehouses,
hospital wards across the roundabout.
The Bell Mouth & other poems are © Grainne Tobin
|Gráinne Tobin grew up in Armagh and lives in Newcastle, Co Down with her husband. She taught for many years, in further and adult education and in Shimna Integrated College. She is interested in keeping poetry open to its audience, including people without long years of schooling.
Her books are Banjaxed and The Nervous Flyer’s Companion (Summer Palace Press) and a third collection is due soon from Arlen House. She was a founder-member of the Word of Mouth Poetry Collective, which met monthly for 25 years in the Linen Hall Library in Belfast, and she contributed to Word of Mouth (Blackstaff Press) which was translated into Russian, and to the Russian-English parallel text anthology of members’ translations from five St Petersburg women poets, When the Neva Rushes Backwards (Lagan Press).
Some of her poems are available in online archives, the Arts Council of Northern Ireland’s Troubles Archive and the Poetry Ireland archive. Some have been exhibited in the Pitt Rivers Museum, Oxford, the Old Museum Arts Centre, Belfast and Derry’s Central Library. One was made into a sculpture and is on permanent display in Down Arts Centre, Downpatrick.
She has had poems in anthologies – The Stony Thursday Book, Aesthetica Creative Writing, Washing Windows, On the Grass When I Arrive, Something About Home – in magazines such as Abridged, Poetry Ireland, The Dickens, Mslexia, Irish Feminist Review, Boyne Berries, Skylight 47, Crannog, Banshee, Acumen, North West Words, Ulla’s Nib, Fortnight, the South Bank Magazine, and also online, in Four X Four and on a website for psychotherapists. She has won the Down Arts, Mourne Observer and Segora poetry prizes and has been listed in competitions.
Yeats: I certainly owe more to that poet than to Fr. surreal.
Strange. In front of a candle
It is part of poetry’s essential features that it releases the poet, its crown witness and confidant, from their shared knowledge once it has taken on form. (If it were different, there would barely be a poet who could take on the responsibility of having written more than one poem.)
—Poetry as event
–in each first word of a poem the whole of language gathers itself —
Beginning: “Poetry as handiwork”? The handmade crafting of poetry?
One and infinite,
Light was. Salvation.
From Fathomsuns and Benighted by Paul Celan (translated by Ian Fairley for Carcanet Books) (1991)
Paul Celan related texts by Pierre Joris
Threadsuns by Paul Celan translated by Pierre Joris
Final Version—Drafts—Materials (2011) PAUL CELAN EDITED BY BERNHARD BÖSCHENSTEIN AND HEINO SCHMULL TRANSLATED BY PIERRE JORIS SERIES: MERIDIAN: CROSSING AESTHETICS
Breathturn into Timestead: The Collected Later Poetry: A Bilingual Edition (German Edition) (German) Hardcover – December 2, 2014
Further Reading on Paul Celan
Pierre Joris websites and articles
Celan/ Heidegger: Translation at the mountain of death; on translating “Todtnauberg” by Pierre Joris
“Canal Walk Home” by Gillian Hamill
|Originally from the village of Eglinton in Derry, Gillian Hamill has lived in Dublin for the past 12 years (intermingled with stints in Galway, Waterford and Nice). She has a BA in English Studies from Trinity College, Dublin and a MA in Journalism from NUI Galway. She is currently the editor of trade publication, ShelfLife magazine and has acted in a number of theatre productions. Gillian started writing poetry in late 2014.
⊗ Gillian’s Website
“The Welcome” by Freda Laughton
“The Welcome” is © Freda Laughton
|Freda Laughton was born in Bristol in 1907 and moved to Co. Down after her marriage. She published one collection of poetry, A Transitory House (1945) but little else is known about her life and work. She may have lived in Dublin for sometime, as her poem The Welcome details the textures of Dublin City and its suburbs, and suggests she knows the city by heart. Her date of death is unknown. Freda Laughton’s poems were submitted by Emma Penney, a graduate of the Oscar Wilde Centre, Trinity College Dublin. Her thesis, Now I am a Tower of Darkness: A Critical History of Poetry by Women in Ireland, challenges the critical reception of Eavan Boland and the restrictive criteria, developed in the 1970’s, under which poetry by women in Ireland has been assessed. She considers the subversive nature of women’s poetry written between 1921 and 1950, and calls into question the critical assumption that Eavan Boland represents “the first serious attempt in Ireland to make a body of poems that arise out of the contemporary female consciousness”. In Object Lessons, Boland concluded that there were no women poets before her who communicated “an expressed poetic life” in their work. Emma’s thesis reveals how this view has permeated the critical landscape of women’s poetry, facilitating an absurd privation of the history of poetry by women in Ireland and simplifying it in the process.|
“Nurture” by Liz Quirke
“Nurture” is © Liz Quirke
|Originally from Tralee, Co. Kerry, Liz Quirke lives in Spiddal, Co Galway with her wife and daughters. Her poetry has appeared in various publications, including New Irish Writing in the The Irish Times, Southword, Crannóg, The Stony Thursday Book and Eyewear Publishing’s The Best New British and Irish Poets 2016. She was the winner of the 2015 Poems for Patience competition and in the last few years has been shortlisted for the Cúirt New Writing Prize and a Hennessy Literary Award. Her debut collection Biology of Mothering will be published by Salmon Poetry in Spring 2018.
“Detail” by Rachel Coventry
“Detail” is © Rachel Coventry
|Rachel Coventry’s poetry has appeared in many journals including Poetry Ireland Review, The SHop, Cyphers, The Honest Ulsterman and The Stony Thursday Book. She was selected for the Poetry Ireland Introductions Series in 2014. In 2016 she won the Galway University Hospitals Arts Trust Annual Poetry Competition and was short-listed for the Patrick Kavanagh Poetry Award. She is currently writing a PhD on Heidegger’s poetics at NUIG. Her debut collection is forthcoming from Salmon Poetry.|
“Going Dutch” by Seanín Hughes
“Going Dutch” is © Seanín Hughes
|Seanín Hughes is an emerging poet and writer from Cookstown, Northern Ireland, where she lives with her partner and four children. Despite writing for most of her life, Seanín only began to share her work in late 2016 after penning a number of poems for her children. Prior to this, she hadn’t written in a number of years following the diagnosis of her daughter Aoife with a rare disease. Drawing from her varied life experiences, Seanín is attracted to challenging themes and seeks to explore issues including mental health, trauma, death and the sense of feeling at odds with oneself and the world.|
“Hypothesis” by Clodagh Beresford Dunne
“Hypothesis” is © Clodagh Beresford Dunne
|Clodagh Beresford Dunne was born in Dublin and raised in the harbour town of Dungarvan Co. Waterford, in a local newspaper family. She holds degrees in English and in Law and qualified as a solicitor, in 2001. During her university and training years she was an international debater and public speaker, representing Ireland on three occasions, at the World Universities Debating Championships. Her poems have appeared in publications including The Stinging Fly, The Irish Times, Southword, The Moth, Spontaneity and Pittsburgh Poetry Review. She was the recipient of the Arts Council of Ireland Emerging Writer Award Bursary (2016) and a number of Literature awards and residencies from Waterford City and County Arts Office. In April, 2016 she delivered a series of readings, interviews and lectures, in Carlow University and Robert Morris University, Pittsburgh, Pennsylvania, as part of Culture Ireland’s International Programme. In February, 2017, as part of the AWP Conference and Book Fair in Washington, DC, she participated in a reading and discussion panel: “A World of Their Own” (five female poets in cross-cultural conversation) with US poets, Jan Beatty and Tess Barry, Irish poet, Eleanor Hooker, and Lebanese poet, Zeina Hashem Beck. She is a founding member, coordinator and curator of the Dungarvan and West Waterford Writers’ Group. She lives in Dungarvan with her husband and four young children.|
“Alice and her Stilettoes” by Lorraine Carey
“Alice and her stilettoes” is © Lorraine Carey
|Lorraine Carey from Donegal, now lives in Co.Kerry. Her work has been published / is forthcoming in the following journals; The Honest Ulsterman, A New Ulster, Proletarian, Stanzas Limerick, Quail Bell, The Galway Review, Vine Leaves, Poetry Breakfast, Olentangy Review and Live Encounters. Her first collection of poetry will be published this summer.|