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The Book Bag: Poetic Voices – April 2026

Welcome to April’s Poetic Voice. Yes April! You won’t find any fools here though. You will find this month’s incredible poet.

I first encountered them on social media, responding to the same prompts as me. I was impressed by their language and their subject matter. It was at a couple of open mics I first heard their moth poems…

And this month’s feature is jam-packed. Not only do we have a selection of poems including pieces from their new pamphlet releasing in April but also an interview…

Without further ado, this month’s Poetic Voice is Eleanor Holmes.



Eleanor Holmes (previously writing as Eliot North) is a neurodivergent mother-doctor-writer of prose, poetry and hybrid. Originally from Bristol in the UK, she has spent her life exploring different cultures and countries, loves to collaborate with other creatives and has a life-long obsession with illustration, printmaking and beautiful handmade books. She lives with her son and husband in Valencian Country, Spain, and works as an NHS GP in Weston-super-mare. Widely published in print and on-line, she was commended in the National Poetry Competition 2014 and shortlisted for the Bridport Poetry Prize 2025. #Moth is her first hybrid collection.

For the first part of the feature, we have a piece from #Moth, which can be ordered from Ethel Zine here. The books are handmade and have an incredible quality to them as you can see from some of the images below. A massive round of applause for Ethel for the amount of effort they make in their publications.

Eleanor has also treated us to a recording of ‘Trap’, one of the poems from the collection which is accompanied by harp. Listen here.

This brings me to Eleanor’s first poem. Imperial. This is one of my favourites from the collection for its multi-sensory feel.

A Few Questions and Answers from Eleanor on her Writing Process

PS: Eleanor, what was the inspiration for #Moth?

EH: #Moth started life in a Tania Hershman workshop ‘Hybrid Writing: Unbox Your Words’ back in 2021. The whole course was focused on ‘hybridity’ in terms of theme as well as form.

Tania had us coming up with all sorts of ‘Chimera-like’ ideas, using scientific text exploring genetics and chimerism as inspiration, as well as myth and imagination. The idea for my main character ‘Vadoma’, a moth-woman hybrid, came from this start. Many of the poems in #Moth weave the natural history of moths with the personal narrative of my main character, with a sprinkling of magic realism.

Tania’s hybrid writing technique or ‘mash-up’ approach to different writing styles resonated with me. Taking scientific texts, adverts, images, shopping lists, fairytales, procedurals, forms (anything goes) and mash it, cut it up, splice it with something else entirely. I don’t like to be pigeon holed, in life and in my writing, and this approach made sense to my neurodivergent brain.

I’ve been both fascinated, and equally dismayed, by the language of medicine over the years. When I studied psychiatry as a student, terms like ‘word salad’, ‘knights move thinking’ and ‘flight of ideas’ that are used to describe formal thought disorder really got my brain humming. The idea of ‘punning and rhyming’, ‘pressure of speech’, use of ‘neologisms’ being a sign of mania or psychosis, and that looking for these formed part of the traditional Mental State Examination (MSE), really intrigued me as I thought to myself: these are all things I have experienced to some extent, they form the basis of so much creativity, performance, poetry particularly.

In saying this I don’t wish to minimise the impact of serious mental illness. I believe good psychiatric care and mental health service provision saves lives. It is more an observation that in medicine the ‘them and us’ narrative serves no one.

In writing #Moth I aimed to take the language of medicine apart; examine it and twist it to shine new light on it. I wanted to explore: ‘what is normal’ and examine the power imbalance inherent in the way medicine operates, and then I wanted to try and flip the narrative. Tania’s course provided me with both the inspiration and the hybrid writing techniques to start this process.

PS: What does your writing process typically look like?

EH: I call myself a ‘magpie writer,’ my brain is constantly looking for the next shiny thing to latch on to. Scraps of speech, my son and I walking to school is a fabulous source of material just now: a six-year-old’s imagination knows no bounds and veers between the delightfully surreal and completely matter of fact.

This chatter with my son and observing my surroundings, little things glimpsed in the everyday, like a cormorant gliding by on my walk home, or a pearlescent piece of shell on a beach keeps my creative brain buzzing. Living in Valencian Country in Spain, where my husband is from and my son was born, is a gift for a writer noticing the ‘unusual’ in my surroundings, immersed in a different culture, language and landscape. This combined with the endless mine of creative material that is my memory, especially of childhood, means the ideas never stop coming. Pinning them down, crafting them, that’s the tricky part.

I make notes on my phone when I’m walking, or when I get home, or before I go to sleep. I collect scraps of things and then try and make sense of them as a whole, stitching words together, moulding them into something new. There never is a ‘this is a poem’ or ‘prose piece’ in the way I approach writing these days, it tends to just come out like a block of text or stream of consciousness. Form, or thinking about form, tends to come later in the process, when I’m trying to make sense of what material I’ve got. That said, I wrote a sestina recently in a Kim Moore and Clare Shaw workshop, and it led me somewhere unexpected which was fun.

I’ve always been an outsider, as a child I was pretty much mute and always observing. I learned to mask this, to function ‘better’ in a world that expected more from me. In medicine I was definitely an outsider as well, but I found my tribe of other ‘odd ball’ creative medics along the way. It is only in perimenopause, and as a woman who gave birth later in life, that I’ve realised how much of the way my brain works and my inherent need to create, is linked to my own neurodivergent thinking.

PS: Your background is in medicine which requires a use of clinical language, how do you arrange the precise clinical language versus the poetical in your mind when crafting your work?

EH: This is a really interesting question, because often I don’t think my clinical language is precise. It clearly is in some ways, has to be, in that there is an expected way that clinicians communicate with each other and diagnosis at its core is based on communication and taking a ‘history’.

The whole language of western medicine, the historical context and assumptions, all the inherent problems I just discussed above are stitched into the way we communicate as clinicians. We learn this language from day one at medical school, and I’ve often said as a medical educator, through this process we almost teach students to become worse communicators as a result. A situation that then means you can spend your whole career attempting to undo that learned reductive way of thinking and speaking (or not, depending on the clinician!)

Now as an adult, living in a country where my mother tongue of English is not the spoken language of the day to day, I am learning first-hand how hard this is to navigate. The jumble in my brain is often utterly exhausting and many times my ability to communicate totally falls apart. Add to this my husband’s mother tongue is Valencian (Catalan) and I’m trying to learn Castilian (Spanish) at the same time, then all sorts of scales have fallen from my eyes, particularly about the privilege attached to being a white, native English speaker (but also the lack that being monolingual inherently represents.)

For me language, and so poetry, is playful. In my communication with patients as a GP, I have to actively check my use of ‘medical language’ or jargon when I’m speaking to people, these days mostly on the phone working remotely from Spain. This isn’t that hard to do these days; I find communicating with patients a real joy when I can match or mirror language used and explore shared experience and common ground. Creating connection and trust is one of the most, if not the most, important thing in my medical practice. Without it, I wouldn’t be able to achieve anything as a doctor, well nothing positive anyway.

So, to actually answer your question, I don’t think my clinical language is precise, or that my poetic language is not precise. In some ways maybe it’s the reverse? The two are inseparable. I find the poetic in medicine, because people are messy and endlessly surprising. Poetry is precise, condensed, intentional; much more so in some ways than my clinical language which has become like driving a car, or shorthand. Creative writing for me breathes life into my learned medical language, it allows me to play with it, see the possibilities outside the clinical, then hone and hone and hone to become something else entirely.

Words matter way more than we are given to believe at medical school. Poetry, amongst other things, has helped me to see this more clearly.

PS: What piece of advice would you give to poets?

EH: I would say don’t be too hung up on writing ‘poetry’, just write. That first outpouring on the page, and the flow state I find with creating anything, is such an absolute pleasure and catharsis for my busy brain. It doesn’t have to go further than this, but also it can!

There are many ways to approach poetry and creative writing, and there is as with any creative process, a craft to be learned. My advice, as so many have said before, is read, and read a lot! Read for pleasure but also start to take note and pull apart what someone is doing when you really connect with their work. This has helped me enormously to start to pay attention to what a writer is doing in a text and then thinking ‘how did they achieve this?’

For me attending lots of workshops with great writers I admire has helped loads and broadened my reading and introduced me to new writers and creatives. This doesn’t need to cost a lot, and on-line works really well for me in terms of flexibility around family life (see January Writing Hour with Clare Shaw and Kim Moore.)

Connecting to poetry communities on social media like #poemsabout and #promptcombo on Bluesky and @TopTweetTuesday on X is also a great way to write more and receive feedback.

Reading your work aloud at open mics (see Paul’s excellent Book Bag open mic), connecting with other writers and building a trusted group of fellow creatives you can share your work with, and expect and give honest and supportive feedback to, has been essential for my development as a writer.

This and approaching established writers whose work you love for mentorship – big shoutout to Carole Bromley and Rebecca Goss – who have both helped my craft and confidence enormously in the last year.

PS: Finally, after reading #Moth, who else should people be checking out?

EH: If you like the hybrid nature of this book, then Tania Hershman is ‘The Queen of Hybrid’ and her latest book ‘Time: a Cronomemoir’ is out with Guillemot Press. The serialised audio of this on Tania’s Substack is ace, as well as her back catalogue of work on her website. Tania is a huge inspiration and a really fab workshop facilitator as well. https://taniahershman.com

I have become a bit of a fan girl of Nina Mingya Powles. How her writing spans all forms and genres and embraces hybrid. I would start with her marvellous ‘non-fiction’ essay writing. Being a foodie, I especially loved ‘Tiny Moons’ with The Emma Press, as well as her latest collection of poetry ‘In The Hollow of The Wave’ with Nine Arches Press. Her blog Crispy Noodles is ace and always makes me marvel at her writing as well as making me hungry. https://ninamingya.substack.com

I love any writer who embraces play and was alerted to Jon Stone and the concept of ‘Ludokinetic Poetry’ when he wrote a Poetry Society piece for National Poetry Day on a poem I wrote years ago called ‘The Crab Man.’ Jon’s website is a rabbit hole of invention that I could happily spend hours exploring. https://www.gojonstonego.com

Definitely check out Elizabeth Osmond‘s forthcoming debut poetry collection ‘Hatchery’ coming out with ‘V. Press’ late this year: a magical weaving of Beth’s neonatology consultant background, the history of this medical discipline, as well as the realities, joys and heartbreak of working in care and the NHS. This is a poetry pamphlet not to be missed! @bethosmond.bsky.social

For sheer artistic brilliance check out Sarah Raybould whose work spans filmpoetry, musical composition, performance, spoken word, visual art, dance and hybridity of all kinds. Sarah’s latest filmpoetry compositions with ‘IceFloe Press’ and ‘Ink, Sweat & Tears’ are stunning. She will also feature in Black Bough’s Silver Branch Series soon, so don’t miss that. @raybould_drs on X

I could go on, there are so many fab writers out there on social media, on-line and in print publishing, as well a whole host of fabulous independent presses, of which Ethel Zine is one that I particularly admire. Those writers mentioned above are all quite different, and a mere toe-dip into the pool of poetic creativity I see around me.

#Moth truly is a fantastic and special book. I’m thrilled that Eleanor and Ethel Zine vision was realised in the production of #Moth. ‘This second poem ‘Emperor Gum’ is another of my favourites.

If you’d like to attend the #Moth online launch happening on Sunday 19th April, click here for full details and to grab your free ticket. It’s going to be a marvellous event.

Make sure to return on 21st April for Eleanor’s third poem.

In the meantime, stay poetic.
Paul

The Book Bag: English Jack by Harry Gallagher

Welcome back to The Book Bag. I hope you’ve had a poetic week.

It’s been a couple weeks since I posted in The Book Bag, but I am back.

I’ve been busy with plans for 2026, finalising the anthology that will be launched on 31st March, submitting pieces and arranging Poetic Voices features for the coming months. I’ve also been lucky enough to host another Open Mic which was an amazing and intimate session.

Another good thing I got to do was nominating Matthew MC Smith, Paul Connolly and Vikki C for the Forward Prize. It’s a privilege to be able to give further recognition to such deserving poets.

Aside from that I’ve been lucky to see a sapling from the felled Sycamore Gap, a true symbol of resilience. I’ve also been on a mini-break including a visit to Bamburgh Castle, some time on the North Sea and a trip to Woodhorn Museum. I also attended a terrific talk by Rachel Joyce at the Alnwick Storyfest.

On top of that, I’ve been reading;

English Jack

  • Poet: Harry Gallagher
  • Press: The Black Light Engine Room Press


I’ve met Harry several times including attending his stanza meetings on a few occasions. He is a great lad and always has time to speak to people and discuss and promote poetry. Harry is a natural performer and can get people truly engaged.

English Jack is a small pamphlet that follows the life of Jack up to his 50’s. This is a social commentary and a portrait of masculinity and identity that is immensely relevant to today’s society.

There are grim, stark points in this book. ‘Respect’ is a harrowing piece that resonates and teems with authenticity. It reminds me of the mindset of some of the men from the council estate I grew up on. The opening poem ‘Chip Off The Old Block’ is an ominous foreshadowing of things to come. ‘Lessons’ and ‘Borstal Dots’ are further forays into the Jack’s decline.

Harry creates delicate moments in his portrait of Jack. ‘Comic’ (one of my favourites) places Jack in the happiness and security of his Grandad’s house where we see a glimpse of Jack’s struggles with reading and the impact it has had at school. ‘Refuge’ and ‘The Gentle Girl As Mrs English’ are both tender and haunting.

Harry paints the time and landscape of the unfolding events remarkably in the pamphlet. ‘Summer Of Love’, ‘Away’ and ‘In A Corner Of An English Pub’ are all vivid in my mind and I can see each one playing out, in fact some of the moments in this book I have definitely seen unfold.

In terms of form and styles, rhyming structures are used expertly throughout with some arriving or leaving mid poem including ‘Dad’s Back’. Harry also uses various structures including couplets in ‘Blame’ and spacing to close out ‘Roadworker’. The book is a timeline across decades, and each piece is perfectly placed.

Fans of social commentary and gritty, true to life poetry will consume this book quickly then re-read and peel back further layers. This is an honest, important and necessary book that shines a light on a dark, cyclical subculture of masculine identity. The timeline format documents Jack’s downward spiral perfectly, illustrating inherited beliefs, culture and personality.

Favourite Poem:

Aside from ‘Comic’, I’ll add the following poem, ‘The Gentle Girl’ because it is a poem that gives hope for a better outcome.

Find out more about Harry here.

Buy English Jack here.

Are you looking for the playlist? Well here we go…

Chumbawumba – Tubthumping
Oasis – Supersonic
The Streets – Dry Your Eyes
The Who – Who Are You?
Elvis – Suspicious Minds
Tina Turner – What’s Love Got To Do With It
Sam Fender – Friday Fighting
Bruce Springsteen – The River
Manic Street Preachers – A Design For Life
The Smiths – Suffer Little Children
Lea McCann & Eddie Harris – Compared to What

Before I Go…

Tickets for The Book Bag Open Mic Session 4, taking place on Sunday, 3rd May are now available here. Limited readers and limited audience to provide an intimate, supportive and welcoming experience.

One More Thing…

The release of Unwhispered Legacy is fast approaching. An online launch has also been scheduled for Friday 1st May at 7pm (BST). Tickets will be available soon. Keep up to date with my socials for when they go live.

And Another…

Jeff Cottrill, a performance poet from Canada, has some UK dates scheduled for June. He’s been at a couple of Book Bag Open Mics and his work is funny, engaging and honest, follow him on Bluesky @JeffCotrill.bsky.social. He’s a fantastic performer and if you’re in the following areas and dates, I’d recommend you go along;
31st May: Poetry in the Park, Aberdeen
2nd June: Voices from the Fountain, Walsall
9th June: Survivor Poets, London
11th June: Worcester Litfest, Worcester.

He is also planning on attending the Fire & Dust Open Mic in Coventry on 4th June.

And Finally…

Iamb Wave 25 went live at midnight with a stellar lineup of poets. You can listen to the new wave plus all previous waves at https://www.iamb.uk/. Mark’s Iamb resource gives a terrific spotlight to so many great poets.

Next Week’s Read

  • Title: Birds| Humans | Machines | Dolphins
  • Poet: Genevieve Carver

Take it easy and stay poetic, I’ll catch you next week.

Paul

The Book Bag: Along The Home Roads by Andy Perrin

Welcome back to The Book Bag. I hope you’ve had a poetic week.

This week, I joined my new team at work and was welcomed warmly by colleagues. It also meant I said farewell but I’m still within earshot of my previous team. They did gift me a lovely bottle of Hendrick’s Gin. Which I will savour!

In allotment news, we’ve cleaned the greenhouse and have started some seedlings off at home and chitted some potatoes for first and second early crops.

I dabbed with some watercolour and I’m happy my colour bending for sunset and sunrise is improving.

If you’ve been keeping up to date with Paul Connolly’s Poetic Voice feature, on The Book Bag: Poetic Voices, you’ll know I’ve shared a fourth piece. I’ve been really lucky to share his work throughout February. Read the feature here.

I also took part in #FragmentsFriday which I’ve mentioned previously. This was my poem:

On top of that, I’ve been reading;

Along The Home Roads

  • Poet: Andy Perrin
  • Press: Bottlecap Press

Andy Perrin is a poet I’ve been reading for a few years now. He is a very supportive member of the poetry community on social media and I always welcome his commentary and encouragement. At the end of 2025, Andy held a giveaway for some of his copies of Along The Home Roads and I was very pleased and lucky to get one.

Andy is a master of minimalism in his word count, able to create vivid snapshots. His journeys (by bicycle) showcase terrific scenery. Poems such as ‘Point Judith Lighthouse’, ‘Wickford Harbor in January’ and ‘Spring’s Palette’ (one of my favourites) highlight this perfectly.

The reliance of humanity on nature as a healer is demonstrated across the pages in pieces such as ‘Serendipity’s Reward’ and ‘Along The Side Of The Road’. A favourite of mine is ‘A Winter Meadow Walk’, I’ve returned to it several times, it resonates so much.

The prevailing message in this book is hope.  This begins with the first poem in the book ‘The Night Map’ and continues throughout. ‘The Common Blue Violet’ uses colour to express this perfectly and brought a lasting smile. These were the right poems for me to consume this week.

Andy uses a variety of styles through the chapbook. We have couplets such as in ‘Daybreak in September’, micros including ‘Countless Faces’ and use of white space in ‘My Coastal Sanctuary’. Each style complements the language effectively.

This is a book that lifts spirits and will appeal to readers who enjoy poetry that recognises nature as a force for good. Fans of micro and minimal word counts incorporated across various styles will appreciate this book. It is a wonderful tonic of a book.

Favourite Poem:

I’ve already said ‘A Winter Meadow Walk’ and ‘Spring’s Palette’ but I’ll also mention another handful, although this is a book brimming with top notch poems. So I’ll add ‘Stilled’, ‘Alone By A Fieldstone Wall’, ‘My Hydrangeas Didn’t Bloom Last’, ‘Of January 29, 1882’ and ‘The Home Roads’.

To read more on Andy and buy Along The Home Roads click here.

You’ve pedalled all this way, so here’s your playlist, this week with a mix of rock, pop, R&B and Jazz;

Cannonball Adderley – Mercy, Mercy, Mercy
The White Stripes – Seven Nation Army
Florence & The Machine – Dog Days Are Over
Coldplay – Viva La Vida
Jay-Z Featuring Mr Hudson – Young Forever
Nat King Cole – Autumn Leaves
Hollow Coves – Coastline
Bruce Springsteen & The E Street Band – Chimes of Freedom
Fleetwood Mac – Go Your Own Way
Joni Mitchell – Both Sides, Now

Before I Go…
The Book Bag Open Mic Session 3 is taking place via Zoom on Sunday 8 March between 7pm and 9pm. Reader and Audience Tickets available here. The sessions are always a supportive environment to showcase your polished gems and roughcut coals.

One More Thing…
The Last Saturday Poets takes place on Saturday evening, hosted by the excellent Louise Longson. Another great lineup to enjoy including recent Book Bag alumni Carmella De Keyser & Corrina Board. Full details and tickets available here.

And Another…
Last week’s book, Mædwe is being launched online on Tuesday 3rd March with the terrific Victoria Spires in the hosting seat and amazing guest readers. Check out Corinna’s Instagram to sign up.

And Finally…
Happy 5th Birthday to Black Cat Poetry Press. The quality of titles released in that time is substantial and is a real showcase of contemporary poets.

Your regular weekly instalment will return on Sunday 8 March 2026. Next Sunday, March’s Poetic Voice will be launched at Noon…

Take it easy and stay poetic, I’ll catch you next week with the launch of March’s Poetic Voice.

Paul

The Book Bag: Poetic Voices – December 2025

And here we are. The final month of a year, that has gone by far too fast. It feels like only yesterday, I was taking decorations down in January, however only yesterday I was putting the decorations back up for the festive season.

As we’re in a new month, a new Poetic Voice has arrived. And I am ecstatic that this month in The Book Bag, I am featuring the work of a poetry superstar… Sophie Dumont. I first found Sophie’s poetry through the excellent Chris Campbell and became a fan instantly. Then I read the background to her debut book Sculling, and I reached out pretty much immediately for Sophie to be a Poetic Voice. Sculling is a profound debut collection. It has challenged my way of thinking and is quite brilliant.

Sophie Dumont is a writer based in Bristol. Her debut collection Sculling was published on National Poetry Day October 2025 and has since featured in the Guardian, Sunday Times Style and Financial Times. Her poetry won the Brian Dempsey Memorial Prize and has been published in The Rialto, Magma, The Moth, Ink Sweat and Tears and Mslexia among others.

She has an MA in Creative Writing from Bath Spa University and has held writing residencies along Bristol Harbourside with Boat Poets and Exeter Quay through Literature Works. Find out more at  www.sophiedumont.co.uk

Follow Sophie on Instagram, Bluesky or TikTok.

Credit: Jae Frederick
Credit: Jae Frederick

Sculling is published by Corsair (who kindly provided the rights to use poems from the collection) and can be purchased here.

The first poem, is ‘Ghazal for when I think of you, I think of me’.

One of the main themes in Sculling is how one can live on through a selfless act of organ donation by saving others. Because of this, I wanted to raise some awareness for Organ Donation, which is a vital service that can help save lives. In the UK, information can be accessed here: https://www.organdonation.nhs.uk/.

Where are these December days going? It feels like only yesterday I was sharing the first part of Sophie’s feature.

Today, I am sharing another stunning piece from Sculling, titled ‘Celandine’. I am so grateful that Sophie is sharing work from her excellent debut collection.

Today I am sharing the piece ‘instinct of a glass eel’. This poem really struck me when I read it in Sculling and is definitely one of my favourites in the collection.

Sculling is one of my personal picks in The Book Bag Christmas Gift List which can be found here. Sculling is available to buy here.

Stay Poetic & Enjoy The Festive Break,

Paul

The Book Bag: Poetic Voices – October 2025

Can someone tell me how it is October already. Autumn colours arrived early this year and it seems like the nights are drawing in quicker each day. And with a new month, comes a new Poetic Voice to feature as part of The Book Bag: Poetic Voices.

This feature aims to platform and showcase exemplary work from writers I admire across the poetic landscape and runs concurrently with the regular weekly episodes of The Book Bag where I’ll still be sharing thoughts on pamphlets or collections I’ve read through the week.

This month, I am thrilled to announce that our Poetic Voice this month is the prize-winning, super-talented, Carson Wolfe.

Carson Wolfe is a Mancunian poet and Grand Prize Winner of The Disquiet Literary Program 2024. They will soon graduate with an MFA from The Manchester Writing School, and are currently finishing their first novel. Their poetry has appeared with Poetry Magazine, The Rumpus, The Common, and Rattle. Their new chapbook Coin Laundry at Midnight is forthcoming with Button Poetry in spring 2026. 

www.carsonwolfe.co.uk

@vincentvanbutch

I first read Carson’s work in The North and Northern Gravy and was blown away by their work, then I read more and more. Fast forward to now and I am so happy that Carson accepted my invitation.

I’ll be sharing a few pieces from Carson over the month. Kicking off with ‘While Wishing She Was Dancing To Kate Bush’ originally published in the Best New Poets Anthology 2024.

A little later than planned, here’s poem 2 from the exceptional Carson Wolfe. First appearing in POETRY Magazine July/August 2025, this is SILICON VALLEY, IN THE BACKSEAT OF A TESLA.

Here is the 3rd poem from Carson. Originally published in The Baltimore Review, this is ‘Strange Baby’.

STRANGE BABY

He locked his doors—
the guy who braked

at my outstretched thumb. 
His name was Froggy. He drove 

in the opposite direction
to Georgetown, 

is the temperature ok? 
he turned the radio dial, 

what music do you like? 
A white crab 

pearled in his headlights, 
he got out, knelt 

on its shell. I could have 
run at that point, 

but his car was air 
conditioned, I had nowhere 

to be. He pulled a rope 
from his back pocket, turned  

its pincers into its own face 
and bound them there. 

I’ll cook you dinner, he said, 
and lumped the salted moon 

onto my lap. It squirmed 
against my thighs, 

this strange baby, looking 
to me for a mother.

I don’t eat animals, I said. 
It’s not an animal, he drove 

on in the stink of rockpool 
fizz. The island only has 

one road, I told myself 
we’d loop round eventually. 

He pulled into a hotel, 
abandoned mid-construction. 

Bare cement, windows gaping 
like mouths. I wouldn’t touch 

the crab, was grateful 
when he tossed it

in the back. I stepped out 
into the evening shrill 

of insects. Dizzied 
by the delicate racket 

of wings rubbed together
—he took out a knife 

and cleared a path for me 
to reach a secret beach. 

The sunset is pretty, like you, 
he said. Like me? I smiled.

Like you, he said, 
down on one knee.

To pre-order Carson’s forthcoming chapbook, you can do so here. I can’t wait for its release. An early birthday present to me from me!

Paul

The Book Bag: Poetic Voices – September 2025

Well here we are in September. And with a new month, comes a new Poetic Voice to feature as part of The Book Bag: Poetic Voices. This feature aims to platform and showcase exemplary work from writers I admire across the poetic landscape and runs concurrently with the regular weekly episodes of The Book Bag where I’ll still be sharing thoughts on pamphlets or collections I’ve read through the week.

And this month, I am amazed to announce the Poetic Voice is the exceptionally talented prize-winning poet, someone I’ve read since starting my poetry journey, Pascale Petit.

Credit: Derrick Kakembo

Pascale Petit was born in Paris and lives in Cornwall. She has published nine poetry collections, four of which were shortlisted for the TS Eliot Prize. Her ninth, Beast, published by Bloodaxe Books in 2025, is a Poetry Book Society Recommendation. Her eighth, Tiger Girl (Bloodaxe, 2020), was shortlisted for the Forward Prize for Best Collection, and for Wales Book of the Year. Her seventh, Mama Amazonica (Bloodaxe, 2017), won the RSL Ondaatje Prize and the inaugural Laurel Prize for eco-poetry and was the Poetry Book Society Choice. Her debut novel, My Hummingbird Father, was published by Salt in 2024.

This month, I am sharing the below piece from Pascale’s latest collection ‘Beast’, available here from Bloodaxe Books. This is ‘The Lammergeier Daughter’.

Beast Micro Book Bag Review

As part of this month’s feature, I’ve written a micro review of Pascale’s collection.

The collection explores a range of emotions and experiences through beasts in various environments and forms. With such range comes an expanse of vivid surreal imagery that lifts itself from the page. The book deals with trauma with defiance and resilience acting as counterpoints.

It should come as no surprise that the language throughout the collection is precise and rich. Form varies from prose in ‘The Tala Zone’ of the book to the use of space in ‘Ode To Causse Méjean With Takhi Horses’ to the couplet form in ‘Papa Guêpier’.

As well as ‘The Lammergeier Daughter’ other poems including ‘Butcherbirds’, ‘Swallows’, ‘Vial’, ‘Roebuck’ and ‘Pale-winged Trumpeters’ are among my favourites. I could list at least 10 more.

Beast is an exquisite collection and is in my top five books, I’ve read this year.

Regular readers will know that The Book Bag shares a playlist for the weekly entry, so I thought I’d add an eclectic one here also….
Charlie Parker – Koko
George Benson – Everything Must Change
Florence And The Machine – Dog Days Are Over
John Coltrane – Giant Steps
Louis Armstrong – Snake Rag
Stravinsky – The Rite Of Spring
Oliver Nelson – Ain’t A Thing
Johnny Cash – The Beast In Me
Kings Of Leon – Closer
Imagine Dragons- Radioactive

Stay Poetic,

Paul

The Book Bag: Vanishing Point by Colin Bancroft

Welcome back to The Book Bag. I hope you’ve had a poetic week.

What a week. I saw the Fantastic Four movie, followed by pizza with friends (I went for nduja and gorgonzola) where we saw England International and Manchester United midfielder Michael Carrick, an acceptance, a piece published as part of the Poetry of Witness project on Wednesday. Also, it was the launch of Beautiful Little Fools Anthology where I read my two pieces (was it too much wearing a velvet jacket and bow tie and sipping old-fashioned cocktails?) ‘Depraved New World’ and ‘The Flicker of Green’. Oh, I spent a bit of time on my writing too.

On top of that, I’ve been reading;

Vanishing Point

  • Poet: Colin Bancroft
  • Press: Broken Sleep Books

Vanishing Point opens strongly with vivid imagery and precise, rich language in the poem ‘Botanical Notes’. The strength of scene continues throughout the the book including in poems such as ‘Sitting On Rocks At Penveen Lighthouse’ and ‘Etal Castle’ (one of several locations in the collection I’ve been to).

Place plays an important part of the collection. Both its historical context tied to memory, heritage and culture but also how a place can act as a way marker to another place. This is how I interpreted the piece ‘Transverse Orientation’ with its listings of services. ‘Picking Raspberries at High Force’ (somewhere I’d recommend anyone visiting, because it is exquisite) is an excellent poem that shows the cycle of renewal of a place.

Many of the pieces hold an emotional weight. ‘Into The Distance’ and ‘Figuring It Out’ are two perfect examples of how to craft evocative poetry in contrasting ways. The poem ‘The Law’ is a layered piece that sparked a reaction both consciously and subconsciously and I made an audible ‘oooft’ when reading it.

There are powerful poems throughout. The final poem ‘Post Box On Corporation Street for Manchester’ is unflinching. ‘Thoughts On An Aftermath’ is a thought-provoking honest piece which had me considering my reaction. The piece ‘Tethered’ hit me hard.

Nature poetry is exceptionally crafted in Vanishing Point. Poems such as ‘Gauging The Flood’ , ‘Standing’ and ‘Life Study’ are all prime examples of writing the natural world without over-sentimentality or cliche. I also enjoyed the poem

Colin Bancroft uses form and style in various ways throughout. ‘John Clare’s Green Coat’ uses spacing expertly to convey the poem’s message, leaving room to breathe before continuing. Free verse is used but also forms including list and couplet such as ‘Frozen Pool in Hotburn Plantation’.

This book will appeal to lovers of eco-poetry, vivid imagery, emotional connection and a sense of place. The Northern landscape and cultural, industrial history referenced in Vanishing Point resonated deeply with me as I have stood in some of the same places and can immerse myself fully in the poetry and the landscape. It’s a book, I will keep going back to.

To buy Colin’s book, click here.

Favourite Poem:

I’m going to choose five here. In no order ‘The Law’, ‘HS2’, ‘Staithes’, ‘Capacity for Joy’ and ‘Night Horses’.

And here’s an eclectic playlist that I feel goes with the book that I’ve curated for your enjoyment;

Oasis – Champagne Supernova
Richard Ashcroft – A Song For the Lovers
Solis – Sunday
James – Sit Down
Lindisfarne – Run For Home
The Unthanks – Shipbuilding
Kate Bush – Running Up That Hill
Jimmy Nail – Big River
Seth Lakeman – The Colliers
Chris Rea – Curse Of The Traveller
New Order – Ceremony
Mr Scruff – Honeydew
Blossoms – Charlemagne

Before I Go…

Another page of Rishi Dastidar’s hobbies will be live on his feature from noon today, with another page of hobbies landing on 19th August. His feature can be found here. Catch up now.

One More Thing…

The Broken Spine has a ‘Cut To The Bone’ zoom workshop running on 24th August hosted by Alan Parry, details here. His workshops are always interactive and informative in a supportive environment and may be useful to all writers currently in the submission process.

And Finally…

Next week’s weekly entry in The Book Bag will be the last until September as I take a small summer break. I’ve already got exciting plans for the weekly entries from September with some more exciting poetry to share. I constantly update my social media channels with news so you can keep up to date there. You may even see me read a poem or 2.

Next Week’s Read

  • Title: Welcome To The Museum of A Life
  • Poet: Sue Finch

Take it easy and stay poetic, I’ll catch you next week.

Paul

The Book Bag: Black Skies Die Starless by Jamie Woods

Welcome back to The Book Bag. I hope you’ve had a poetic week.

I’ve had a slower week this week. Shared a video of me reading one of my poems on social media, visited the Northern Poetry Library on Monday, sent some submissions off and spent some time on my my own writing. On Saturday evening I was able to see some incredible poetry at Louis Longson’s last Saturday of the month poetry readings. Also I went out for lunch with my team from work to a great Asian place.

On top of that, I’ve been reading;

Black Skies Die Starless

  • Poet: Jamie Woods
  • Press: Punk Dust Poetry


Black Skies Die Starless is a pamphlet that I became aware of on a recent Black Bough open mic when Jamie read a couple of pieces. This week there’s no playlist from me, instead, the collection has suggested listening. Some class tracks in there too. Lets jump in…

One of Jamie Woods’s best strengths is the weaving of pop-culture references throughout his work that is more than just surface-level soundbite. Pieces including ‘The 90S’ and ‘are the perfect examples of this. In fact, the poem ‘The Perpetual Illusion of Progress’ stands out for its sharp, smart observations of 90s culture. Thankfully things do seem to have moved on. The piece ‘I’ve Found God In Seattle’ is a clever piece on irony and perception.

Another strength is emotional honesty and depth. The grief poem ‘Sleep’ is heart-wrenching with a sucker punch of a closing line. The poem ‘Wednesday Afternoons Bromley High Street’ is intimate as we peer into a therapy room. Blame culture is displayed perfectly here through interaction and steps to self-actualisation also shown. The pivots are placed perfectly. ‘The Opposite of Spring’ is a terrifically crafted poem rich with contrast.

Vivid imagery runs throughout the collection. From the underbelly of the parks doing substances in the piece ‘Swinging’ to racing the streets in ‘Beat-Up Micra’ and the longing to escape in ‘Swansea Sound’ these poems were resonant, and I could picture these in Northumberland mining towns I grew up in.

Throughout the book, readers are treated to a variety of different forms and styles. The prose poem ‘Through Neon Half-Lights’ was a very clever choice as it gives a rounded feel to the piece. Then in ‘You And No-One Else’ the use of separators is a great representation of the message being conveyed and interacts with the piece.

Another thing to mention is the interspersal of graphics throughout the book. The paparazzi piece was a stop and reflect moment but for a completely different reason because while that event was happening, another horrific event was happening closer to home.

Favourite Poem:

More than a few to choose from so let’s settle on five just from what I’ve been thinking of today: Through Neon Half-Lights, Manic Pixie Dream Boy, (Atrophia), On Mount Horeb, and Heaven 17.

Black Skies Die Starless will appeal to readers who want to revisit the nostalgia of the 90s through a different gaze, fans of poetic authenticity and admirers of sharp observational poetry. A masterful collection and so glad I encountered Jamie reading this at the recent Black Bough open mic.

Learn more about Jamie Woods and access the playlist that accompanies the book, here.

Buy Black Skies Die Starless here (I got a bookmark and a couple of pin badges in my delivery, excellent poetry merch). All proceeds go to Leukaemia Care UK. Jamie is their poet-in-residence.

One More Thing…

An important new platform has launched on Substack. We Are The Chorus: Poetry of Witness is a new collaborative project that aims to share poems of protest and witness, and to encourage discussion, inquiry, and action around these themes. There will be an initial gallery of 12 with 1-2 poems shared weekly followed by a pause to allow reflection and to encourage further conversation.

And Another…

There is still time to enter the Katrina Collins Poetry Prize which closes on 1st August 2025 for Best Single Poem. See full details of the prize dedicated to Katrina Collins, mum of the exceptionally kind and ultra talented Briony Collins who is EIC of Atomic Bohemian, here.

And Finally…

Less than a week to go until the Poetic Voice for August is released on The Book Bag. Alarms should be set for noon on Friday 1st August.

Next Week’s Read

  • Title: The Oasis
  • Poet: Charles Lang

Take it easy and stay poetic, I’ll catch you next week.

Paul

The Book Bag: Concealed Pockets – Getting My Work Featured on The BBC

Recently, I took a leap out of my comfort zone.

Let’s start somewhere in the middle…

I took a breath and uploaded a poem to the BBC Upload portal after hearing Helen Laycock and Chris Campbell had appeared on their respective BBC Upload shows previously. It felt like a big step for me in getting my poetry out there to a new audience…

First though, I searched BBC Sounds for BBC Upload, found the North East programme and listened to a lot of episodes over one weekend. Then I had to find out how BBC Upload works. Well it’s a platform to upload poetry, comedy, stories and other content (not music) to the BBC Upload service region your work links to. In total I listened to about 10 episodes over a weekend on BBC Sounds . I loved the clowns/cabaret act interview.

Then I realised I had to make a video to upload. I used some footage from a recent trip to Alnwick Garden and recorded a voiceover of my poems ‘Taihaku Joypiloting at Alnwick Garden’. I did my best to make it presentable using my mobile phone which was just a case of trial and error. And back to taking the the breath and the uploading of the file from the beginning of this post. Confirming I want to proceed then waiting on tenterhooks to see if I could catch the attention of the producers.

A few days later, I got a very warm and friendly email from Emma Millen at BBC North East & Cumbria who curates the BBC Upload for Newcastle and Tees stations for BBC Sounds. Emma offered me an opportunity to go into the studio for a chat about my poetry, and to record some of my work.

On a sunny Friday, I put on one of my best shirts and pair of jeans, shook off some nervous excitement and made my way to BBC Newcastle Studios with the book bag in tow.

When I arrived I was a bit slapstick trying to open every entry door until I buzzed the receptionist who let me in and sorted my visitor badge out. I got to see a TARDIS in the foyer while I waited. Emma collected me and I was taken for my interview in one of the radio station studios. It felt a bit surreal at first, I won’t lie.

Emma and I had a chat where she made me feel really comfortable talking and sharing my work. Then in a flash I’d had been recorded and I was headed home to enjoy the rest of the sunshine.

The episode aired on Saturday 14th June on BBC Radio Newcastle and BBC Radio Tees. Here is a clip of me reading a couple of poems. I’m chuffed to bits with the edit, not to mention Sam Fender – People Watching was the song after my final piece on the radio. I was buzzing. I celebrated with a pink gin and tonic.

The whole process from start to finish was handled so well and I will (hopefully if they’ll have me back) share more work on the platform. It’s a great way to showcase your work and reach a broader audience.

I thoroughly enjoyed my experience and am truly grateful for the opportunity. Stepping out of the comfort zone every now and then is worthwhile and I would recommend more people try it.

For next time (if there is a next time) I’ll be a bit more organised and stick with the pieces I had originally planned to read because I changed my mind at the last minute.

Huge thanks to Emma for having me on and making me feel calm and relaxed as I could be. Her energy is infectious and that really helped.

To upload your work and get your work featured on BBC Upload visit:  https://www.bbc.co.uk/writers/opportunities/bbc-upload/ and select your area.

Take It Easy and Stay Poetic

Paul

The Book Bag: Concealed Pockets – Sonnet Restaurant

I’m going to be opening the Concealed Pockets of The Book Bag every now and then. First up, my thoughts on Sonnet Restaurant.

A couple of weeks ago, my wife and I visited Sonnet Restaurant, a 14-seater restaurant that serves a 14-course tasting menu across a few hours in Alnwick, Northumberland  where all diners eat at the same time. Food x Poetry = a dream for me. This was a belated promotion / early anniversary celebration.

I could go on and on about the food however, I will simply state it was excellent, (Michelin and Conde Naste both agree) and we’ll be visiting again for a smaller lunch soon.

The experience was incredible, from the service which was friendly and attentive without being over the top and the wine flight paired perfectly with the courses.

This is a perfect place to eat when visiting Northumberland and I highly recommend if you’re looking to celebrate a special occasion. The space is intimate and bright and ends itself perfectly to relaxed fine dining.

A great finishing touch was the song ‘Sonnet’ by The Verve playing at the end of the meal. Another great detail was the course guide that was rolled into a scroll.

As sonnets go, the restaurant is comparable to Shakespeare’s 18th Sonnet. A marvel.

Hope you enjoyed this 14-line ( as it appears on laptop) response.

Stay tuned for more bits and pieces as I open more of The Book Bag’s Concealed Pockets.