Alison Hill

Slate Rising: Alison Hill’s debut full collection

Slate Rising
Slate Rising Alison Hill
Indigo Dreams Publishing, £7.99

Alison Hill’s debut collection, Slate Rising is one of Indigo Dreams’ latest offerings. Hill’s pamphlet, Peppercorn Rent came out in 2008 from Flarestack, shortly after she set up Rhythm and Muse, a poetry and music event in Kingston-upon-Thames.

Several years ago I was delighted to feature her on The Poetry Shed with her poem The Women of Dorich House. Since then her poem To a Girl on Platform Three which appears in Slate Rising was nominated by South Poetry for the Forward Prize 2012 for Best Single Poem and a couple of other poems in the collection have been commended in the Yeovil Literary Prize and the Grace Dieu Writers’ Circle competition.

Hill provides a catalogue of female characters whose strong sense of identity, place and history are revealed to the reader, their lives and journeys unfolding in separate stories but with an interconnectedness that draws them together. “I am no woman, every woman” is the essence of the collection. There’s a timelessness, a self-perpetuating cycle of questioning femininity and expectation as these women try to find their way in the world as the past, present and future converge.

In the opening poem, Loose Change Hill’s woman “gives her the wet hills stitched/ with dry stone contours” the beauty of this is juxtaposed with the penultimate line when she moves to what seems the ordinary and every day, “She gave her the price of a bus ticket,” then draws up with the final line, “but she bargained on an open return”. In To a Girl on Platform Three Hill continues in this vein with a mother’s observation of her young daughter as she sees her in years to come looking back on this moment as her mother looks on it now:

“I see her in years to come, when she finds the dress
tossed at the back of her wardrobe, as she smiles
in fleeting recognition and passes it on.”

It is gentle, understated and universal.

In Rapunzel she “is girlhood without the games, / skipping without the rope”, in Stitching the Light, she “worked against the clock,/ defying its hands to steal her light”, this theme is picked up later in Blush where she “liked to watch the light/ shifting through the delphiniums”. These are at once fragile poems that tell tales of strength and triumph, her characters have delicate bones but filled with what Thoreau called “the marrow of life”.

Perhaps the heart of the collection is in the poem Awakening. It is Eve’s actions and the thousands of years of sisterhood that come to the fore in this book and it is the voices of these women whether daughters, wives, lovers, mothers, spinsters that ring out whilst at the same time trying to cast off their societal status.


I saw the sculpture before the name;
body of a woman playful as a kitten.

Mid-roll in abandon, legs in freefall
stomach splayed for all to see.

Sinuous, graceful, eyes closed against
the world, she holds the apples aloft

Mine, all mine, she says.

For me, this awaited for collection from Hill is like the lines in Silver Lip Conch

“I have sheltered here
for generations,
fossilised, safe.”

Now excavated from the seams of the poet, Slate Rising finds its voice.

Alison is appearing at the following events:Alison_Hill_(2)[1]
Fourth Friday, Poetry Café London, Friday 26 September, 7.30pm
Loose Muse, Poetry Café London, Wednesday 12 November, 8pm


Malcolm Carson

Gifts and other goodies

I love to come home to A5 brown envelopes – the kind that are thick enough to contain a book or pamphlet, not thin enough to be a returned submission. This last week or so I’ve opened three such envelopes and have been chuffed to see the books and am grateful to the lovely poets who sent them: Derrick Buttress, Malcolm Carson, Alison Hill.

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A while ago I read through some of Malcolm Carson’s poems from Cleethorpes Comes to Paris. There is the obvious connection between us, Malcolm kindly endorsed Snow Child three years ago, but there’s the less obvious one – we were both born there (sadly Cleethorpes, not Paris). I was whisked away within weeks, not sure how long Malcolm stuck it out. The sequence of poems is published by Shoestring Press and recalls a trip to Paris of times past. Leaving from Calais the narrator says, “Pardon, monsieur, / quelle est la route à Paris”. Carson mixes what we know of Paris – Sartre, Gauloises, the Metro with a glimpse into its seedier side:

Round midnight when we saw her
haunched to piss, the pavement
flowed until she upped her drawers

alert now to our approach. Clochard,
we said, held back, watching
her embarrassed shadow skulk
against the Sorbonne’s gothic walls.


Some great writing and my favourite lines have to be:

I caught him at the Gard du Nord
boarding the train for Cleethorpes.

(Chez Popoff)

I’ll leave the last words to Nigel Jarrett at Acumen and report on the other two books soon.

“Musical, resigned sensuous… So persuasive is Carson’s voice”.

Alison Hill

Alison Hill: Featured Poet

The Women of Dorich House

i. Rapunzel
The head of the girl with pigtails
has been placed halfway up
the soft crimson staircase.
Her back to the window,
she dreams of a sky she cannot see,
trees she cannot climb.
The head of a girl with pigtails
catches our eye as we ascend,
again as we go down.
Her patina gaze is unnerving:
she is girlhood without the games,
skipping without the rope.
ii. Limbo
Instead of the pupil, two staring blanks;
enclosed, encased, embalmed.
I lived once – my eyes were the colour
of those tulips over there, fading to violet.
I am no-woman, everywoman, my case
has no name. Visitors circle in hope,
check out my eyes as you have done,
notice the tulips and move on.
iii. Awakening
I saw the sculpture before the name;
body of a woman playful as a kitten.
Mid-roll in abandon, legs in freefall
stomach splayed for all to see. Sinuous,
graceful, eyes closed against the world,
she holds the apple aloft –
                          Mine, all mine she says
Alison Hill runs Rhythm & Muse at the Ram Jam Club in Kingston and is currently
Poet in Residence at Kingston Libraries.
Her poems have appeared in a range of magazines and anthologies and her first pamphlet collection, Peppercorn Rent, was published by Flarestack in 2008. She is one half of Speranza, with Judith Watts, and has performed her poetry at various venues from the cornerHOUSE to the Roundhouse. Alison Hill and