and in the shop…
pamphlet collection –
“The Memory of Water”
“Eva and George: Sketches in Pen and Brush”
Pin Drop Press;
“How to Pour Madness into a Teacup”
Abegail Morley’s debut collection, How to Pour Madness into a Teacup (Cinnamon 2009) was shortlisted for the Forward Prize Best First Collection (2010). Snow Child (2011) and an ekphrastic collection based on the work of the German satirical painter, George Grosz, Eva and George: Sketches in Pen and Brush (2013) are published by Pindrop Press. The Skin Diary is published by Nine Arches Press (2016).
She collaborated with Karen Dennison on The Memory of Water, a pamphlet based on her residency at Scotney Castle, (Indigo Dreams, 2015) and was Poet in Residence at Riverhill Himalayan Gardens, Kent, and Canterbury Festival Poet of the Year 2015. She was a commissioned poet on The Globe Theatre’s Autumn 2015 season “The Voice and the Echo”.
She is a co-founder of EKPHRASIS along with Emer Gillespie and Catherine Smith, commissioning poets for ekphrastic events with organisations including The British Library and the Royal Academy of Arts. She runs The Poetry Shed and is co-founder of The Poetry Shelf – pop-up poetry gigs.
Abegail Morley has the talent for the cool, long-line lyric… [her poems are] rife with the viscerally felt modulations of a mind ill at ease.
Aime Williams, Times Literary Supplement
Comment on How to Pour Madness into a Teacup:
It has fallen to Abegail Morley to draw aside the veil suspended between the world we know and the unholy of unholies that lies beyond. We are shown the painted veil of everyday life, only to have it slashed with a knife before our eyes, allowing us to glimpse the horror that lies within, sometimes frightening but always lit with a strange visionary beauty. Morley’s poems are daredevil ambassadors to a savage place.
These poems are moving, sensitively written, compelling and well worth a read.
It is rare to find a collection that is so hypnotically filled with trapped desire. It is like being inside the head of Munch’s The Scream. It is like nothing else around: the poetry of rejection. That’s what marks it out and makes it so special… This is a brilliantly uncomfortable sequence and you won’t get it out of your head – no matter how hard you wash.