Tag Archives: Roger Elkin

Doreen Hinchliffe

The Comer-In

September it began, one sultry evening.
The apple trees were full of wasps feeding
or worms sucking flesh. Clawing their way
through hedges, blackberries were focussed only
on plumping, gorging themselves on sun. Nothing
prepared us for him. We were in the dark.

The horses sensed it first. Under a dark
moon, unnatural currents in the evening
air brushed against their skin. Nothing
usually spooked them, not when they were feeding,
but they suddenly reared and bolted, only
stopping when they reached the bridle way.

Still, we suspected nothing. There was no way
we could have known. Even when a dark
shadow covered the sun, we said it was only
a passing cloud, a quirk of nature. That evening,
he was spied in a distant field, feeding
the sheep. A loony, we thought, a good-for-nothing.

Not long after, he appeared in the village and nothing
was ever the same again. It was strange, the way
he wormed his way in. We gave him a job feeding
and mucking out horses, let him sleep in the dark
barn, offered him scraps to eat in the evening.
Wages, we said, were for local farmhands only.

Within a week, the children adored him. He only
had to nod and they flocked. Soon, nothing
could stop their rumours of miracles – how, one evening,
he’d brought a dead calf to life, or the way,
as soon as it felt his presence in the dark,
a lamb that couldn’t suckle had started feeding.

Sick of this silly talk, we gave up feeding
him. Told him to sling his hook. Only
the horses saw him go in the gathering dark,
followed by all our children. Now, we have nothing.
Since he left, the seasons don’t change in the way
they used to. We live in the endless half-light of evening.

Our animals long ago stopped feeding. Nothing
is left to dig or plant when there’s only evening
light. We’re cursed. We’ve lost our way in the dark.

Caliban’s Choice
(After Franz Marc’s Caliban, from Shakespeare’s ‘The Tempest’.)

Horror and beauty co-exist in me.
Half man, half monster, I live with a divide
too deep to fathom. Since my mother died,
I lumber over the island, scan the sea
for traces of my kind, but there are none.
I dream of storms, imagine wind and weather
smashing boats against the rocks, and other
creatures swimming here. I give each one
a name. My favourite is a slender form
I call Miranda, who walks at dawn beside
the cliffs. Her beauty stops my breath. I hide
when I see her, fearing I’ll do her harm.

The monster in me wants to grab her, snatch
her from her tribe and keep her for my own
pleasure. I could bind her with a chain
and gorge myself on her flesh, just like the witch
who was my mother did with bears and goats
she caught. (Their frantic silhouettes would rise
on the walls of her cave and I’d hear their cries
of anguish as she sank her teeth in their throats.)
The man in me thinks differently. He fears
to touch her, bids me listen to the call
of gulls, the sound of wave-song, wind-song and all
the island’s music that hums about my ears.

Trapped in a chasm that splits my soul in two,
I veer between its opposite sides, each
of equal force. Nothing can mend the breach.
Engulfed in darkness, unable to be true
to who I really am, I feel the pull
and power of Sycorax, hear her voice
insisting I must make a final choice
and follow her … and yet, the isle is full
of noises, sounds and sweet airs that give delight,
not hurt. Sometimes, I dream of clouds that break
in gold across the sea at dawn and make
me long to live forever in their light…

Sycorax – Caliban’s mother in Shakespeare’s ‘The Tempest’.

The Comer-In won 3rd prize and Caliban’s Choice by Doreen Hinchliffe received a Special Mention in the Sentinel Literary  Quarterly Poetry Competition (October 2020) judged by Roger Elkin.

Doreen Hinchliffe

Doreen’s poems have been published in various poetry anthologies and magazines, including Mslexia, Poetry News, Magma, Orbis, Acumen and The Interpreter’s House. Her first collection, Dark Italics, was published by Indigo Dreams in 2017 and her second, Substantial Ghosts, by Oversteps Books in 2020. Her first novel, Sarabande in Blue, was published by Blossom Spring Publishing earlier this year.

Mary Gilonne

The Hardness of Quinces

This mother who used to hold me, sits,
pale pod of head in the shell of her chair,
hands pleached. Word blight, leaves falling.

I have, as fruit keeper, watched over the bletting.
Autumn’s winnowed crop fattens my lap now
with forgotten butteriness, summer’s mislaid

light, all is silent save a sigh of patient cupboards.
Kitchen cloistered, windows steam-blossomed,
as if this weighted scent of fruit is incense, rite.

Her knife still knows its November role, slits, cores¸
glints a juiceless path hard as bone. Skin. See now
her quinced hands , peppered, downy with ageless bloom.

A stutter of sugar, honey shirring warmth, old appled air,
she leans like a weathered tree, stirring quiet the sweet
and sour of it all, and so our quince time must slowly pass.

How soft the cooking ends, how tender this reddened
flesh slips. Fingers flutter an emptying dish, and I know
she’s searching some lost face in the well of her gentle spoon.

The Hardness of Quinces by Mary Gilonne won 1st Prize in the Sentinel Literary Quarterly Poetry Competition (October 2020) judged by Roger Elkin

Mary Gilonne

Mary is a translator living in France but originally from Devon. She has been shortlisted several times for the Bridport Prize, won the Wenlock, Wirral, and Segora Prizes, and placed or commended in competitions such as the Teignmouth, Bedford, Plough Buzzwords, or Penfro. Her work has appeared in Magma, Strix, Antiphon, Obsessed with Pipework , Snakeskin, Prole among many others, and in anthologies such as Mildly Erotic Verse ( Emma Press), The Road to Cleveland Pier ( Hedgehog Press) The Very Best of 52 ( Nine Arches Press) Her pamphlet ‘Incidentals’ was published by 4Word Press in 2018 .

Jocelyn Simms reviews Roger Elkin’s Sheer Poetry


Title: Sheer Poetry
Author: Roger Elkin
Publisher: Dempsey and Windle, 2020
Pages: 84
ISBN-13: 978-1913329167
Reviewer: Jocelyn Simms



A striking image on the cover of Sheer Poetry, Roger Elkin’s latest poetry collection, shows a climber clinging to a bleak rock face as he makes his way to the summit. This photograph evokes for me the tenacity and linguistic adroitness of Elkin’s writing. The title poem, Sheer Poetry: Considering the Egyptian Position reveals the desire and determination of the writer: ‘wanting to own it all  /  if only for the moment, not let go.’ – thus echoing the courage and commitment of the climber.

The first poem introduces us to Elkin’s love of precision in the use of language. Being Two-faced reflects on the ability to look, sometimes conveniently, in two directions at once: ianua the gateway signals January, named after Janus who looks both forwards and backwards. Elkin’s veneration of language immediately surfaces with a litany of names from different countries and cultures with nomenclature for this first month of the year: wulfmanoth, tammikuu. month of slicing wind.

In Pencil Drawing of a girl, circa 1912, partially erased we are offered a tender pause to catch the glimmer of a likeness. Somethings have been
rubbed out
to smudged Summer clouds . . .
Erased to disguise failures?
how we mythologize
in recreating the past . . .
How we draw to cover the tracks.

In Fishing the Khabur River, Syria we learn how this once sacred waterway is now fished for bodies. Understated language makes the discovery all the more gruesome and poignant: an unforgettable description of the waste and cruelty of war.

In another war we meet the Yanks be-bopped, jitterbugged and smooched and later discover the consequences of trading favours for fags, gums and stockings: as someone wryly japes, you Don’t get owt for nowt.

In The Longest Day our all-time great film stars trawl through the D-Day landings as men are strafed in the vastness of sand but years later exposed in slow-motion monochrome our hero meets that terrible lonely vigil waiting by a hospital bed, your moment’s longest day.

There is a richness throughout the collection, whether cameos of neighbours and relatives or gritty descriptions of political confrontation. In Ireland’s Blight we get a glimpse of the terrible vindictiveness of one nation against another. Oliver Cromwell justifies the massacre of children in 1649 at Drogheda whilst Delia Smith’s tips on cooking cabbages is used as a coruscating forensic analogy for the Great Irish Famine. Roger Elkin is never one to flinch or look away but stakes out the territory with scrupulous care.

Elkin’s gift is to call forth a fresh slant to our awareness, appreciation and understanding of the world and our place in it.

Sheer Poetry showcases all the abilities of this widely-published and deservedly multi-prize-winning poet, a superb collection – buy it for your bookcase and savour.

Jocelyn Simms, November 2020