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Magazines in which more than 100 poems have been published include :
Acumen, Agenda, Ambit, Assent, Critical Quarterly, Coffee House, Envoi, Equinox, Frogmore, Interpreter's House, Iota, Links, Magma, New Welsh Review, The North, Orbis, Outposts, Poetry Nottingham, Poetry Review, Stand, The Shop, Seam, Smith's Knoll, Stand, Staple, The Times, The Wolf, Wordplay, “14”.
Poems
- Sea Wall, Overy Staithe: written for N. Norfolk project, Between the Land and the Sea
- Fire: published in Salaams
- Need Blossoms into all its Compensations: Ambit 202, Autumn 2010
- The Inscrutables: The Interpreter’s House 45, Autumn 2010
- Scotch & Soda: published by Magma
- Sunny Green Sea: published in Magma
Sea Wall, Overy Staithe 
Running I become
the bank’s long legs
and bendy knees
Sometimes I outwit time
a quickening into the moment
knowing every step
will take me
somewhere different
Travellers with tripods
forks for worm-digging
with picnics rucksacks guns
the cyclists and the day-trippers
have met my several selves -
patters of early footprints
loosing energy into the dunes
where space opens up
Sturdy Dutch
with weather-beaten faces
shovelled on the soil
and now again
workmen slap grey clay emulsion on
strip back to bones
the mallows clover chamomile
Enthroned on the digger’s caterpillar tracks
the driver browses dailies
to the radio’s lunch-time croon
I am the length and breadth
of what’s unchanged
am lapwing (disappearing)
butterflies in spiral
acrobat (my shadow)
natterjack (my song)
windslam across the saltings
beneath enormous skies
Voices are silent
trees that bore the dog rose
and the tiny self-sown apples
gone
Still I run
look backwards and look forwards
Allow this poem
to carry you beyond
Fire
Today the rose-bay willows flush
through ragwort into innocence of sky.
Pods explode to bottle-brushes, fly
away their floss. Flame turns to ash.
Bursting where harmless grass
is kindled and charred, fireweed sings
to sun in thrusts of coloured rings,
changes like stripy caterpillars.
Ep-il-o-bi-um, the child
writes cursive, feeling the ping of sound
on palate. Mixing mauvish pink. Bound
by circumstances and shape, she holds
her breath till almost faint before (impelled
to dip) she colours tongues, lips, wounds.
Need blossoms into its Compensations
When does a berry break upon the tongue
sweeter than when you long to taste it?
How can lilac quiver the nostril
before the bloom blows on the wind?
Even a dream of Emma Kirkby singing Mozart
opens up a garden like the spring.
Touching you - anywhere will do -
is precious in your absence as the sun.
The Inscrutables
Heads tilted back, feet pointed down
they could have run on sand and left no trace.
But love, you understand, goes on and on,
each holds its secrets in a pale flat face.
They could have run on sand and left no trace.
Cycladic images slip into my mind,
each holds its secrets in a pale flat face,
arms folded on its chest, like you, my friend.
Cycladic images slip into my mind,
then you in your caring bed, a deity,
arms folded on your chest, my friend,
stoic and timeless as the slipping sea.
You in your caring bed a deity,
head tilted back, feet pointed down,
stoic and timeless as the slipping sea
while love, you understand, goes on and on.
Scotch & Soda
Two phrases only are necessary for a whole evening of
English conversation. 'Scotch and soda?' and 'Why not?'
J-P Sartre
Scotch and soda, says the rumpled little man with large lenses,
and a mangled accent. Stepping from the lectern,
the intellectual liberator adjusts his check scarf.
He craves a drink. Why not? He can't speak English
and needs a woman. He drinks if he fancies one. Scotch and soda?
Drinks when he's with one and has to leave. Why not?
the human being is free and utterly responsible.
He drinks too much, he overworks: Il faut tout essayer.
He abuses his body: Scotch and soda?
Drink less, smoke less, doctors warn.
He won't be lectured. He ignores them. Why not?
Scotch and soda: alternating never fails.
There are many women in his life, why not?
But they become helpless: they depend on him like Scotch
on soda. Meeting one at a time, he lets his hands wander.
He lies to them all. Why not? By alternating
it is impossible to make a mistake.
Sunny Green Sea
Do we continually cross
some place between what we say and what we feel,
slipping among green fingers, white fingers?
The artist peers inside the human head fishing up
smashed images of stained glass,
shadows that swallow a face.
Other times he walks right in
extracts a sailor
clasping a fish as if it were his truth.
The spectator moves from the story we inhabit
to what is real
not so much amid destruction
as at the building of a new world,
yet weedy strands
disturb the boundaries that overlap
in speckled silver
like shoals of whitebait after new grazings
beneath a skim of light
- Competitions
Three highly commendeds at competitions are from The Plough, Amnesty and York 2004.
Public Reading
In 2002 at the Poetry Festival at Wells-next-the-Sea.
In 2008 at Poetry Wivenhoe
In 2009 with Ambit at Bath House, Dean Street
At North House Gallery
In 2010 with Ambit at the Owl & Pussycat
First Chapbook
Swimming Lessons (Cidesterna, 2002/5,
£6.95, ISBN 1 899604 27 8) is a sequence of poems in the voices of a mother and her daughter, charting their relationship through adolescence, anorexia and her death of cancer at the age of 42. 'The poems are spare, quiet and unsentimenatal, with a restless, rigorous honesty about them.'
Eleven of the poems provided the basis for a play twice broadcast on Radio 4, in September 2005 and 2006.
The Pamphlet is available from the author or Hawthorn Press, 11-12 Websters Yard, Syderstone, Norfolk PE31 8SJ.
Second Chapbook
Anthologies
Light Unlocked, Christmas Card Poems, Enitharmon, 2005
Soundswrite Anthology, Soundswrite Press, 2005 & 2006
Poetry Wivenhoe, 2008
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