Word and Image from Michael Bartholomew-Biggs and Howard Fritz





Take Two
After Howard Fritz

A flock of geese migrating, startled
by a minor earthquake, interrupt a couple’s
tilted tête-à-tête. Her headscarf’s pink
and contrasts with the drink she clasps –
a red Cinzano he’s just bought her.

With his sleek black head, white shirt
and dark-sleeved dinner-suit he is his own
unchanging manifesto – and resembles
all the geese which fly by swiftly
as old lies he’s told or ghosts of former lovers.

She negates him: pale uncovered arms;
black velvet breast that sports a brooch – a trophy
butterfly. But who is pinned to whom?
The geese are metaphors departing,
dollars taking wing, not spent on her.

They play the scene against its fractured backdrop,
advertising their own love affairs
as much as acting out their parts. They’re stars.
The geese are extras: feather-weight careers
can cruise above the wreckage of this script.



Michael Bartholomew-Biggs is poetry editor of the on line magazine London Grip and also helps to run the North London reading series Poetry in the Crypt.  His most recent collection is Pictures from a Postponed Exhibition (Lapwing 2014), which features artwork by David Walsh.

Howard Fritz is a London-based artist: http://hwfritz.blogspot.co.uk/.  See here for more of Michael Bartholomew-Biggs’ responses to Howard Fritz paintings: http://londongrip.co.uk/2016/01/paintings-poems-howard-fritz-michael-bartholomew-biggs/

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Cherry Doyle





When I told you I’d trick the moon
right out of the sky and into your wine,
your eyes said I couldn’t be trusted;
you knew my kind that come
on the breeze, under the crow’s wing,
when hope needs us the most.

My hands are rugged, eyes sag
with the weight of a forest’s century,
that I fished the sky for stars, until
I found my nights in the pit of your heart,
and I leave each morning, unsure
if I’ll return at dusk, a woman.


Cherry Doyle lives near Cannock Chase. She has been published in Cannon’s Mouth, The Cadaverine and was the Leaveners Poet of the Month for June 2016. She is completing an OU degree in Creative Writing, and tweets occasionally @ms_n_thrope

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Lucy Hamilton




Molasses & Snow

In spite of the art class On Desecration I cannot vandalize
but cut out a copied inscription A une ex-Canadienne

to paste above my mother’s face & shoulders which rest
on a plinth of text highlighted yellow|Such a surprise

to read words I had only heard spoken|her childhood
memory our favourite bed-time story|Les enfants poussèrent

les cries de joie|She and her siblings pouring the boiling syrup
drop by drop into the sizzling snow|the brittle gobbets

a precursor to the fudge & toffee we’d die for|‘Molasses’
derives from the Proto-Indo-European mélid and cognates

include the Ancient Greek μέλι (méli) and all those edible
words like the Latin mel |Spanish melaza|and the French

mélasse  which links to the hint of treacle in my picture
que la mère Chapdelaine laissait tomber goute à goute sur la neige






Lucy Hamilton co-edits Long Poem Magazine. Her collection Stalker (Shearsman 2012), was shortlisted for the Forward Prize for Best First Collection. Her next collection is forthcoming from Shearsman. Recent poetry and artwork is in Long Exposure #4.

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Word & Image by Helen Pletts and Romit Berger







Words by Helen Pletts (www.helenpletts.com ) whose two collections, Bottle bank and For the chiding dove, are both published by YWO/Legend Press (supported by The Arts Council) and available on Amazon. ‘Bottle bank’ was longlisted for The Bridport Poetry Prize 2006, under Helen’s maiden name of Bannister. Working collaboratively on Word and Image with Romit Berger, illustrator, since 2012. Word and Image Cards now on sale in The Over Gallery .

Image by Romit Berger who says “I am a graphic designer and artist, living in Prague for the past 
ten years. In 2008 I joined a writing group – English is not my native
 language but I graduated from an international school, so it is a part 
of my life ever since. I feel that the dual process of finding words to
 describe mind images and illustrating written words, opens a new 
exciting dimension of creativity for me.


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David Felix



David Felix is an English visual poet who lives in Denmark. He comes from a family of artists, magicians and tailors and was raised on oil paint, sleight of hand and Singer sewing machines.   At some point during the last century,

You can see more of his work here: http:davidfelixvisualpoet.com


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Tony Rickaby





Tony Rickaby’s current practice reflects on walks around South London, where he lives. Recently he has written for Litro Magazine, Stepaway Magazine, ken*again, experiential-experimental-literature, Sugar Mule, The Whistling Fire and Fox Chase Review.  His book Detours was published in 2014.

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Words by Reuben Woolley, Image by Sonja Benskin Mesher



Reuben Woolley has been published in Tears in the Fence, The Lighthouse Literary Journal, The Interpreter’s House and Ink Sweat and Tears among others. A collection, the king is dead, 2014, Oneiros Books. A chapbook, dying notes, 2015, Erbacce Press. Runner-up: Overton Poetry Pamphlet competition and the Erbacce Prize, both in 2015. A poetry pamphlet on the refugee crisis, skins, 2016, Hesterglock Press.


Sonja Benskin Mesher:  I am a painter who writes, a writer that paints, a drawer on life, and landscape. … Watch me make things.  Am quite patient, hold my tongue, but can’t say multi-disciplinary. Easily I live here, in Wales,  Easily.  I have worked full time as a visual artist since 1999, and have spent those years exploring ways to communicate thoughts and concerns. Its not all you see on the surface, it goes deeper than that. When I work I remember  and try to make sense of it all.

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