Tag Archives: Noel Williams

Lethal theory



The IDF in Nablus walk through walls

eviscerating living rooms, inverting geometry.

Where streets prickle with barricades

walls become the easy street, mapped

by laser, admitted by C4.


Terror strides through bricks,

tramples floors, metastasises

house to house, performing its laparotomy

under the civil skin.


Our home is theoretical, a thoroughfare

for RPGs, bedroom Ops Centre for an hour.

For our wellbeing, mother and child trussed

under the camo of convenience.


That’s not mud on the carpet.


“Lethal theory” by Noel Williams won first prize in the Sentinel Literary Quarterly Poetry Competition (August 2017) judged by Oz Hardwick


Noel Williams publishes internationally in magazines such as Envoi, San Pedro River Review, Wasafiri, Iota, The North and The Rialto. He’s won several prizes, with four nominations for the Forward Prize and one for the Pushcart. He was the first Poet in Residence at Sheffield’s Bank Street Arts Centre, where he’s also exhibited several times. He’s co-editor of Antiphon magazine (antiphon.org.uk), Reviews Editor for Orbis (www.orbisjournal.com), a mentor for other writers and Professor Emeritus at Sheffield Hallam University. His first collection was Out of Breath in 2014. A pamphlet, Point Me at the Stars, is due in 2018. Website: http://noelwilliams.wordpress.com


Oz Hardwick SF Presidio  Library I have, over the past couple of years or so, been involved in a number of conversations in which someone has bemoaned the dearth of political poems. My response has invariably been a bemused What? From the lone poem in a regular journal, through individual collections, to issue-based anthologies and epic projects like 100 Thousand Poets for Change, poetry – like all the arts – is articulating local and global political concern, engagement, anger, fear etc. on paper, on-line, and on walls.


It is of course legitimate to ask what use such poems are against the often overwhelming insurmountable-seeming challenges we – regardless of race, religion, or any other differences – face, both politically and environmentally. To the despairing (and I occasionally fall into that category myself), I’d suggest that poetry can give voice to the voiceless, can distil the core of human experience into engines of visceral communication at the sharpest edge of language, and in doing so can remind us of the strength of our shared humanity. It can also do a lot more, of course, but these are perhaps the most pressing calls upon the arts at present.


I was heartened by the number of poems submitted for the competition that focused on issues from the wilful decimation of the British NHS by a self-interested government, to human displacement on a global scale: and, beyond this, they were very good poems indeed. Both ‘Lethal Theory’ and ‘In transit’ are excellent examples. The former employs military acronyms and the impersonal language of medicine, perfectly balanced around the human tragedy of those caught up in events within which they are barely acknowledged. Specific, yet chillingly universal, the poem’s strength lies as much in what is avoided as what is said, culminating in the blunt negative of that unforgettable final line. The latter is a very different poem, but no less powerful, the second-person address and controlled vagueness concerning detail places the reader uncomfortably into a limbo without full stops that continually stacks the odds against the shadow of hope that is desperately introduced mid-way through the final stanza.


            Lest all this imply a single-mindedness of approach to subject in my assessment of the range of poems submitted, the ekphrastic ‘Vanitas’ stood out as a beautifully tight response to a painting that – as with all the best poems of its type – goes way beyond its descriptive surface, tapping into questions of faith and very corporeal connections and absences, resolving into that rich image of the ‘thick and wrinkled’ wax. Additionally, of course, it vividly evokes the private, domestic space and the dangerous unknown without, as – in their own ways – do the previously discussed poems. And if there was one overriding theme that arose time and time again in the submitted poems, it was this idea of the home, with all of its connotations of security and fragility. Indeed, of those dozen poems that made my short-list, more than half directly addressed the theme in one way or another: an indication, perhaps, of a shared response to uncertain times in which we are more conscious of our need for the safe and the known – and, I hope, for a place in which to welcome and be welcomed.


            The pleasure in judging this competition was the difficulty of the task, and in the reaffirmation of poetry’s – and art’s more generally – importance.


Oz Hardwick




Special Mentions:

Labile – Sharon Phillips

Surrender – Kelly Nunnerley

Your windows – L Thompson


Our Father – Michael Brown

Swinger – Kathleen Strafford

Some have entertained angels unawares – Inky

Highly Commended:

Frozen Ringtone – Maria Isakova Bennett

What does the heart mean in popular culture? – Sharon Phillips

The Softening – Diane Cook

Third Prize:

Vanitas – Gabriel Griffin

Second Prize:

In transit – Greta Ross

First Prize:

Lethal theory – Noel Williams


competitions@sentinelpoetry.org.uk  / office@sentinelwriting.com

Ordinary Love – a poem by Noel Williams

Noel Williams

Ordinary love

I kiss your elbow but you don’t wake.
I kiss your eyelids. Still

the ceremony of not waking you continues.
Certain parts of you remain the same.

Your shoulder, for example, reminds my tongue
of forty-three years. Your hair, however,

unthreads like the blanket, though faint
with that scent of strawberry leaf.

I don’t yearn for what has sanded away
but don’t want to lose it. Sometimes

I think we’re a fiction, barely credible,
our narrator slow to let us leave

although it’s the ordinariness of love
that keeps the reader here.

© Noel Williams 2016

‘Ordinary Love’ by Noel Williams was highly commended in the Sentinel Literary Quarterly Poetry Competition (November 2015) judged by Oz Hardwick.


Results and Judge’s Report – Sentinel Literary Quarterly Poetry Competition (November 2015)

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Judge’s Report By Oz Hardwick   I didn’t think to count the number of poems with which I started – it was the sort of pile I’d be more inclined to weigh than count, anyway – but after careful and … Continue reading