In her first full-length collection, Sarah Westcott immerses the human self in the natural world, giving voice to a remarkable range of flora and fauna so often silenced or unheard. Here, the voiceless speaks, laments and sings - from the fresh voice of a spring wood to a colony of bats or a grove of ancient sequioa trees. Unafraid of using scientific language and teamed with a clear eye, Westcott's poems are drawn directly from the natural world, questioning ideas of the porosity of boundaries between the human and non-human and teeming with detail. A series of lyrical charms inspired by Anglo-Saxon texts draw on the specificity of the botanical and its spoken heritage, suggesting a relevance that resonates today. Westcott's poems are alive to the beautiful in the commonplace and offer up a precise honouring of the wild, while retaining a deeply-felt sense of connection with a planet in peril.
Sarah Westcott's debut pamphlet Inklings was the Poetry Book Society's Pamphlet Choice for Winter 2013. Her poems have been published in journals including Poetry Review, Magma and Poetry Wales and in anthologies including Best British Poetry 2014 (Salt). Sarah grew up in north Devon, on the edge of Exmoor, and has a keen interest in the natural world. She holds a science degree and an MA in poetry from Royal Holloway, University of London. Sarah lives on the London/Kent borders with her family and, after a spell teaching English abroad, works as a news journalist.
BatsInklingsSpring WoodFormDowny MildewMiliaFor the Love of Young LeafFlowersLily The Mariposa TreesFallen MonarchThe Faithful CoupleWawona Tunnel Tree The Vegetable LambGreen GiantThe Great Pacific Garbage PatchSentinelLambskinLittle RedPox CharmCharm for Delayed BirthCharm for a Lost ChildHare Mass Messenger May Still Life Sculpting a Mole The Cannots The Green Flash And then he started singing again Charm Against a Wen Black and Blue Cannibal Eyas Oxygen Owls We are listening Afterlife cloud Notes and Acknowledgements