“All of the images had come together and started to work on each other, and then that word seemed a little like a lightbulb that could help illuminate the poem, sort of let one question fall across it, maybe creating a sort of (albeit fragmented and nebulous) whole”
Author: Zoë Brigely
Editor of Poetry Wales
Zoë Brigley is an award-winning poet, editor and academic. As well as editing Poetry Wales, she shares the role of Poetry Editor for Seren Books with Rhian Edwards, and is an Assistant Professor in English at Ohio State University.
Laura Warner: How I Wrote ‘I love you, Helen Skelton’
“Within this poem there is definitely a sense of disclosing a long-held secret – a secret desire, perhaps – that fantasy of rummaging in the Blue Peter Badges, whatever that might mean. It’s as if the speaker has finally found their moment to say something, so they are going to say it all, let it spill out.”
Damian Walford Davies: How I Wrote ‘Selves’
“I hope there are fleeting readerly moments at the end of, and between, lines throughout the volume where the stomach jumps or the mind reaches for something that doesn’t quite materialise around the racing bend of the line, or materialises in an uncannily different form.”
Simon Maddrell: How I Wrote ‘Being Young & Queer: A Zuihitsu’
“Language is culture, history, social practice, politics, everything. It is both a product and source of all those things, and its loss is all the greater for it”
Nadine El-Enany: How I Wrote ‘Hobson’s choice’
“The beginning of a poem matters to me very much. I want to pull the reader right into the thicket. My favourite poems are those that snag me from the first line and make it impossible to pull myself free.”
Tracey Rhys: How I Wrote ‘He tells me how trees communicate…’
“I think that when we have children, many of us tend to turn the natural world into fairyland for a while, and share their entrancement with it.”
Steve Logan: How I Became a Poet
“I began to write poems and music in earnest to save my life”
Astra Papachristodoulou: How I Wrote ‘Unbodied’
“Given [the constraint of short form], I like to utilise materials that, in conjunction with the short text, offer additional meaning to ultimately make the poems multi-layered, esoteric and more nuanced”
Anna Blasiak: How I Wrote ‘EMBROIDERY. HAFT’
“[I]nstead of having two separate language versions of the poem, I ended up with one, which brings the languages together… This, I think, reflects how the brain of a bilingual/multilingual person works”