On Sunday I ran my first workshop at Grapes Hill Community Garden, a small oasis near the centre of Norwich where everything from foxgloves to banana trees flourishes. It was perfect space for the mindful practice of writing haiku with a multitude of plants, trees and insects to inspire. 
The participants, many new to haiku, embraced the form and produced some terrific work - some which is now on display in the greenhouse. The garden is open daily and there are events throughout the summer and autumn. I'll be running further workshops in September and October. 
More information on the garden and future events available at grapeshillcommunitygarden.org

Medusa’s Head

It hangs from the end of my bed
in a Marks and Spencer bag for life.
It hisses in the night.
I’ve been bitten once or twice...

My poem Medusa's head is featured in this new anthology from Pan Macmillan. It originally featured on an episode of my Poetry Non-Stop podcast with Ella Duffy. I'm delighted to see it get picked up and used in such a brilliant publication topped off with illustrations from Chris Riddell. Thanks for the inspiration Ella.

You can order the book here.

I have a poem, Old Bits of Cloud, in the Love The Words poetry competition winners anthology. The competition is run as part of International Dylan Thomas Day and this year the theme was water. You can download and read the anthology here. 

In February I was asked to produce a podcast for an event by the Dead Women Poets Society at Norwich Forum. Each event or séance features women poets resurrecting a woman poet who did not receive the recognition she deserved. The living poets talk about the poet's life and accomplishments, share their work and talk about how they influenced them. They read a poem inspired by their chosen poet. This event features Caroline Bird vividly bringing Anna Wickham's wild spirit into the room and Jade Cuttle resurrecting Gisèle Prassinos through song. There is also an open mic section.
Standing at the back of the room, one of only a few men present, I was thrilled by the wealth of poetry shared from poets living and dead. I'm proud to be able to bring you this recording.

There was a fish who had the notion 
life was better outside the ocean.
“Are you mad?” The others said.
“If we leave we’ll soon be dead.”
“Don’t be silly,” the fish declared.
“That’s just a tale to make us scared.
“They’ve got us trapped down here you see,
“it’s cold and gloomy as can be.”
Dissatisfaction slowly grew
among the other fish he knew.
One day all across the sea
rose a cry of “let us leave!”
The fish all gathered in a band
and made their way onto the land.
All around was dry and bare.
They started gasping hard for air.
“What shall we do?” The fishes cried
“I think we’re all about to die.”
Then their leader shrugged and said:
“I hadn’t planned this far ahead.”
One fish wheezed: “Quick let’s go home,”
before collapsing with a groan.
There on the shore the fish all died
musing on their foolish lives.
If you choose to leave the place you know 
Make careful plans before you go. 

As a teenager, one of my biggest influences was Mark Radcliffe’s late-night show on Radio One. Four nights a week it was an oasis of cutting edge music, art and culture. Among the regular guests were poets including Simon Armitage, John Hegley and Ian McMillan. They not only read their own poems but contributions sent in by listeners following prompts and writing exercises. Ian McMillan called it homework.     
    They were lonely, difficult years as I navigated adolescence and the pressures of school and exams but in this after-hours poetry community I felt I belonged. I was a regular correspondent and some of my poems even made it onto the airwaves. I cringe to think how awful they were. But being prompted to write and having a platform on national radio to share my efforts was motivating. It developed my creative skills and built confidence as I headed towards taking a degree in English and Creative Writing. 
    In my new podcast Poetry Non-Stop (and its predecessor Headstand) I have tried to create the same community. Each episode is an interview with a poet and showcase of their work but I also ask each guest to give listeners a writing exercise or prompt. So far I am the only one who has responded to these but I hope anyone who listens tries them as well. 
    I have found the experience of writing to these prompts challenging and unexpected as I have been led to write a variety of poems that I would never have written otherwise. A prompt on borders and intimacy led me to write about a library which lies on the US-Canada border that I heard about on This American Life. A recipe for roast goose randomly picked from a Hungarian cookbook formed the basis of a vignette about a repressed housewife and an exercise to write about life experiences using metaphor prompted me to use a news story about rescued flamingoes to explore feelings of isolation and struggling to fit in. 
    Birds kept coming up in the poems for some reason. Having noticed this I neither tried to avoid writing about them or include them but each time I finished a poem I realised another bird had found its way in somehow. 
    The podcast is going out each Thursday via Soundcloud and the usual podcast providers for an initial run of six episodes but more are in the pipeline. I have been lucky to talk to some really brilliant and accomplished poets who have been very generous with their time and in sharing their poetry. But getting a wider network of listeners taking inspiration from these talented writers and sharing their own poems is an equally important aim for this project. Whether you are a seasoned poet or have never written poetry before I encourage you to tune in, enjoy the poems and then pick up your pen and do your homework!

Poems can be submitted via email, posted on the website or shared on social media using the hashtag #poetrynonstop.

Poetry Non-Stop poets

I've just made my debut on Norwich based comedy panel show Idiot Wind. I've finally put all those hours listening to I'm Sorry I Haven't a Clue, Just a Minute, The News Quiz etc to good use. You can hear me and the panel discussing ways to avoid getting burgled on holiday, practical uses for goats and my favourite cheese among other topics.

​Please like on Facebook, follow on Twitter and subscribe wherever you usually get your podcasts for more episodes featuring me and other funnier folk.

I’ve gained quite a lot of experience in performance poetry over the years. I’ve had bad gigs - forgetting lines, feeling ill, reading over people talking at badly run events. I’ve also had my triumphs - winning poetry slams, receiving compliments and even drinks from audience members, I’ve been booked for feature slots and had strangers telling me they remember poems they heard weeks or months ago. But there’s always more to learn, especially if you’re being taught by one of the UK’s foremost writers and performers Lemn Sissay.

​Let There Be Voice! was a five-day residential course in performance poetry led by Lemn at the Garsdale Retreat. This fairly new centre in the Yorkshire Dales is based in a splendid Edwardian house walking distance from Garsdale Station and run by Hamish and Rebecca, a couple of former teachers who have thrown their heart and soul into their new venture. They have created a haven for writers where they can develop their craft under the guidance of top tutors and away from the bustle of everyday life. The groups are small. There were six on this course plus Hamish who joined most of the sessions. The homecooked food provided by Rebecca is delicious and plentiful and it’s a good thing there is so much countryside around where you can walk it off!

From the moment Lemn arrived it was clear this would be no ordinary poetry course. His energy, enthusiasm and creativity were infectious. Throughout the week he was our tutor, mentor, entertainer and friend. In our first session he directed us to write about our name. “Where does it come from? How do you feel about it? Did you ever want to be called something else? Do you have a nickname?” The directions became a performance as we began to write and he continued pacing the room. “What does your name mean? Which person made you feel special when they said your name? What stories are attached to your name?”
​
​I found myself writing about the earliest memories of my name, the origins of my surname, the ways people misspell and mispronounce it. I wrote about how my first name David links me to past generations and the confusion caused by being known by my middle name. There was much more I could have written after the exercise finished and later in the week those notes grew into a poem I didn’t know I had in me.

That evening Lemn gave a reading. The Retreat has a good room for such events but he chose to go al fresco. We took chairs into the field across the road and as night fell he regaled us with poems, digressing into anecdotes, jokes and off the cuff observations. He made use of the space available running into the distance and bellowing poems back at us and coming in close to address us softly. He sometimes changed position two or three times in the same poem. Being present and in the moment is key to performing poetry he told us throughout the week and his well rehearsed poems combined with improvised wit and drama kept us captivated. 

Lemn has performed at prestigious venues around the world but this must have been quite a unique performance and it was a privilege to be part of the exclusive audience. Highlights included perhaps his most famous poem Invisible Kisses and The Man on The Moon. As he performed the sun set behind us and the moon rose above the crest of the hill behind him. It was the most atmospheric reading I’ve attended even if part of the atmosphere was flying in my face and crawling in my hair. It was a relief to get inside and escape the cold and midges.

The following day, Lemn got us all to explore the idea of taking poetry off the stage by getting us each to perform a couple of poems in a location of our choice. We were encouraged to look at our poems and consider where we might pause, where we might shout or whisper a line, where there was emotion. We then took it in turns to lead the group to our chosen locations and read our work. Poets read behind buildings, sat on the grass, leaning against trees. One woman led us upstairs, indicated that we should remove our shoes then led us into her room where we sat on the floor as she curled up on the bed and read a couple of dreamy, romantic pieces.
​
As the week progressed Lemn got us to write more and hone our performances. I wrote three new poems during the week and a fourth which hasn’t quite come to fruition but produced a lot of great material. In one session we wrote poems following the structure of Lemn’s poem Let There Be Peace. My poem Let There Be Fire unleashed raw emotion and spirit that my work doesn’t usually contain and was a great vehicle for pushing my performances to new heights.

We practised performing individual lines of poems concentrating on giving a strong delivery and trying new ways to perform them whether that was how we spoke or how we moved or positioned ourselves on stage. It was useful to focus on giving my all to one line rather than trying to give powerful delivery to a whole poem. It was impressive to hear how the exercise transformed other members of the group who took on different postures, changed the tone of their voices and delivered lines with such impact that many felt like complete poems. The exercise provided a strong foundation for when we moved onto performing full poems later in the day. Lemn was as much of a pleasure to perform to as he was to watch. His face cracked open into a broad smile regularly when I was reading and he said he’d like to hear me do a full set. 

We had the opportunity to hear another performance poet Ben Mellor, who showed great lyrical wit and vocal range. He has also explored different ways of performing through collaborating with musicians. He used a loop station on several poems to create loops of his vocals to accompany his readings. 
​
 After a couple of days of workshops and performances we were immersed in poetry drawing inspiration from Lemn and each other to enrich our writing and performances. The exercises Lemn set were quite simple yet they got me looking at my writing and the stage in a new way. One day we started by writing a prayer which didn’t have to be religious. I don’t know what inspired me to write a prayer for super heroes but I soon had pages full of notes and was buzzing from the thrill of writing something new and unexpected.

 It is easy to start drifting from one open mic to the next reading new poems off the page or doing old poems the same old way. Just following the old rhythms and not really being present. One of the most powerful techniques Lemn shared was to pause before reading and look the audience in the eye. It helps focus, get the audience’s attention and give a confident and unique delivery of each poem. He also encouraged pausing during poems. I was doing this already but thinking about where to pause and really holding it made the pauses become silent words within the poems.

Lemn also offered advice on doing gigs. He stressed the importance of getting to know venues before you perform and being aware of the lighting, the microphone, where the audience is, finding out if there are any issues that might affect your performance and getting them fixed or working round them. He emphasised that it is always the poet’s responsibility to deliver a good performance even if the PA’s dodgy or the MC is in it for self-promotion.

Before long it was the last day. We submitted poems written during the week and Hamish produced booklets for us to take away. It was wonderful to read other participants’ work. I had heard a lot of it during the week and it was a treat to read it back and absorb it fully. One participant who was back for the second time wrote a poem about the retreat which captured the week perfectly.

There was a blood moon and total lunar eclipse set to occur on Friday night so we decided to combine it with the end of course reading. We drove uphill to find a good viewing spot and performance space. We pulled up at the side of the road but alas there was thick cloud overhead. As we searched in vain for a chink in the clouds a thunderstorm began rumbling in the distance. Light rain started to fall and lightning flashed across the valley. An owl swooped across fields and one by one we stepped forward and spoke to the wind, rain and our companions huddled by the roadside.  It was a perfect setting to exploit everything we had learnt. We could choose where to stand and move around. It was intimate enough to whisper poems and so remote you could shout them from the hillside at full volume. It was a finale to the week beyond anything I could have imagined. 

I left with new friends, new poems and a greater confidence and passion for performance which I look forward to bringing to the stage. The rare opportunity to work with a poet of Lemn Sissay’s calibre and the hospitality of the Garsdale Retreat was a dream experience for any writer.

www.thegarsdaleretreat.co.uk
www.lemnsissay.com

Last month I started a new writing group Read Write Chat. I was inspired to start it after running a couple of poetry workshops for Slow Theatre Company earlier this year. It was the first time I had run any workshops for a while and it was rewarding to see the incredible writing participants produced in a short time with a little guidance and encouragement.
I was also inspired by a group I used to attend in Cardiff called Roath Writers. Each session would begin with reading a short piece of literature and discussing it followed by a writing exercise based on what we had read. We would then have time to share and discuss what we had written before heading to the pub.
The sessions were run by brilliant poet and tutor Christina Thatcher and what I really liked about the format was that it combined what I consider three daily essentials for writers: reading, writing and conversation. ​

    During the first session, a small but enthusiastic group gathered upstairs at Aroma Cafe in Norwich. We studied poems by Rob Auton and Christina Thatcher looking at how every day objects can be used creatively. We then wrote stories and poems about objects and places including a stapler, coffee and a bus stop. You can read the poem participant Avouleance Aaq wrote about a guitar here.
    The next session will be on April 21st from 4-6pm, upstairs at Aroma Cafe and it is planned to run monthly. For more details get in touch or see the links below.

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