Category: New/unpublished poems

  • Two of my poems published to celebrate Brigid the Bard in 2026

    Míle buíochas – many, many thanks – to Mark Roberts & Linda Adair for publishing my poems ‘Creidim, 1579 AD’ and ‘Imbolc Incantation’ (includes audio of me reading) in the Rochford Press/Rochford Street Review Brigid the Bard 2026 supplement.

    ‘Creidim, 1579 AD’ is from my collection Grace Notes: Giving Voice to Gráinne Mhaol, Ireland’s Pirate Queen, published by Salmon Poetry, with huge gratitude as always to Jessie Lendennie & Siobhán Hutson Jeanotte.

    ‘Imbolc Incantation’ is getting its first airing. Listen to it here:

    20260125_Imbolc_Incantation_Jennifer_Liston.m4a

    Congratulations and best wishes to Anne Casey & the Prankqueans for a successful Brigid the Bard Festival 2026 celebration in Sydney & Katoomba, NSW!

  • ‘Grace Notes’ is launched. Sail far and wide, little book of big poems!

    Author Jennifer Liston at a book signing event, smiling at the camera while pointing to a stack of her book, <em>Grace Notes: Giving Voice to Gráinne Mhaol, Ireland’s Pirate Queen</em>. She is wearing a sparkly silver jacket over a black top and a necklace. The books on the table have a blue and green abstract cover with a sticker saying 'Signed by the Author.' A wine glass sits nearby on the table. This ALT-text was generated by ChatGPT.

    We had a fantastic launch on Friday 8 November 2024 of my poetry collection, Grace Notes, published by Salmon Poetry, at The Allingham Festival in Ballyshannon, Co Donegal. I was so moved at the number of people who made an effort to be there: my sister Susan Coakley and her husband Daragh, my brother Tony and his wife Marie, and my brother James flew over from England as a surprise, as well as several close friends. And of course my dearest Robert Rath.

    Author Jennifer Liston on stage seated next to Win McNulty at a small table with microphones in front of them. Jennifer, wearing a sparkly silver jacket, holds a copy of <em>Grace Notes: Giving Voice to Gráinne Mhaol, Ireland’s Pirate Queen</em> in her lap and looks toward the audience. The setting is a theatre with red carpeting and seating in the foreground. This ALT-text was generated by ChatGPT, then edited.

    Local writer Win McNulty and I decided we would structure the launch as an interview/conversation. Win drew out of me many key points about the collection and its structure, how I came to focus on Gráinne Mhaol and voices/voicings as themes, my ideas about writing with and through constraints, and my rescued poetry process. It was a great conversation, and I’m very grateful to Win for all her background work and her intelligent, thoughtful and considered questions. We’re hoping to post video highlights publicly soon, so I’ll keep you updated.

    I’m very grateful to The Allingham Festival committee for including me on the festival programme and for providing a beautiful space. I feel very privileged that my book launched on the 200th anniversary of the birth of William Allingham.


    I’m particularly indebted to Tony and Marie Liston for arranging the amazing wine and canapés reception, and for looking after all the logistics associated with the event.

    And of course my deepest gratitude goes to Jessie Lendennie and Siobhan Hutson Jeanotte of Salmon Poetry for publishing my work in such a beautiful form. The book itself is a work of art.

    A display table with multiple stacks of Jennifer Liston's book, <em>Grace Notes: Giving Voice to Gráinne Mhaol, Ireland’s Pirate Queen</em>. Several copies are propped up to showcase the cover, which features a vibrant abstract design in blue, green, and purple tones. The books are neatly arranged, creating an inviting setup for a book signing or sale event. This ALT-text was generated by ChatGPT.

    Christmas is coming, dear readers, so you might like to buy a few books as gifts for the bookworms and poetry lovers in your life! Order the book directly from the Salmon Poetry website. They ship worldwide!

  • You can now buy my poetry collection ‘Grace Notes’ from Salmon Poetry!

    Cover of the book Grace Notes: Giving Voice to Gráinne Mhaol, Ireland’s Pirate Queen by Jennifer Liston. The design features bold, swirling brushstrokes in shades of blue, green, and purple, with touches of red, resembling an abstract painting of ocean waves. The title and author’s name are overlaid in white and gold text, with the publisher, Salmon Poetry, noted at the bottom. This alt text was generated by ChatGPT.

    It’s finally here!

    Ennistymon-based Salmon Poetry has published my poetry collection, Grace Notes. It will be launched at the Allingham Festival in Ballyshannon on Friday 8 November 2024. I’m really looking forward to launching this baby into the world. It’s been a long time in the making.

    Grace Notes is a collection of poems that express fragments of the life of Grace O’Malley/Gráinne Mhaol. The Gráinne compositions place Gráinne at different points in her life and also situate her in a mediaeval past and a borrowed future via her dreams, or aislings. Interspersed with these compositions are ‘rescued’ poems. (I’ve posted many examples and written quite a bit on this site about my ‘rescued poetry’ process. You could also check out my rescued poetry website.) I chose 17 texts connected to Gráinne – a selection of factual or fictional biographies of her and a small number of contemporary historical texts – from which I rescued 50 poems.

    Isn’t the cover gorgeous? Salmon Poetry’s Siobhán Hutson Jeanotte designed it. I requested that it wouldn’t feature the usual pirate queen image bandied around whenever Grace O’Malley is illustrated, and Siobhán did a wonderful job with an abstract image that suggests movement and sea and waves without hitting us over the head with them.

    You can buy the book directly from the Salmon Poetry website. They ship worldwide!

  • Bringing Gráinne the Pirate Queen to Penola, regional South Australia

    Plans to tour my solo show of poems and songs about Gráinne Mhaol after the sold-out Adelaide Fringe 2020 season were somewhat foiled by the advent of COVID-19. Who knew a global pandemic was imminent?! So when we had the opportunity to bring the show to the beautiful town of Penola in July 2021, we were a bit apprehensive because of course we had to be ready to cancel at a moment’s notice. Penola is almost 400 kms south-east of Adelaide, in a winery region called the Coonawarra.

    Anne and Leigh Miller, our wonderful hosts and people ‘on the ground’ there, did all the legwork, all the promotion, organised the venue, and invited us to stay in their lovely self-contained studio/flat. We packed our car to the roof with lights, mixing desk, and all the associated light and sound gear, and took to the road. It was a good exercise for us to prove to ourselves that we could be completely self-contained and not need anything to set the venue up the way we wanted. We even brought our own ladder! It was looking like a reasonably late arrival (by Adelaide standards, not by ours!) at our generous hosts’ home, so we were delighted that we arrived slap bang in the middle of one of their regular music sessions – a great start to the weekend.

    Robert and I spent all of Saturday setting up the lighting and sound in the RSL hall. We decked it with candles to make it cosy and inviting – it really was the perfect setting to regale everyone with songs and poems about this amazing woman’s exploits. About 30 souls braved the chilly weather to see the show on Saturday evening. With full bellies from delicious suppers plus ample supplies of wine and beer, the audience was wonderfully receptive and warm and offered very kind feedback about the show.

    Thank you to my talented right-hand man, Robert Rath, who seamlessly integrated lighting and sound in his wonderfully exacting way. Thank you particularly to David Milton for recording the show, which will be useful for me to review and improve or change aspects of it for future showings. We were extremely grateful to those who helped us move things around in the hall to prepare for the show, and who helped return it to its former state afterwards.

    On Sunday we visited a few of the gorgeous local wineries. Some wines from Zema and Majella may have travelled back with us to Adelaide!

    As I’ve said before, it is a privilege to have the opportunity to bring Gráinne to life through my original poems and songs, and to be able to share them with such a diverse and willing group of people. I’m so grateful for all the support I’ve had along the way.

    Again, tremendous gratitude, particularly to Penola residents Anne and Leigh Miller, and to all those who came to the show that evening.

  • Poem a day for 30 April 2018: the words of a last toast insist that large fortune is laughter, love and nice wine

    Today is the last day in the NaPoWriMo-write-and-post-a-poem-every-day project. Thank you for reading them and for your kind remarks and feedback.

    Although it’ll be nice to claw back a few hours in my day, I will miss the daily discipline of the rescue process and the strange little poems that result.

    The 30 April rescuees are quite interesting and mostly ‘dark’. Their ‘narrative-heavy’ nature is not surprising to me at all; the very act of being presented with a bundle of disordered words seems to demand that I construct a story with them.

    Today, for the final rescue (for now), I decided to load up the constraint with yet another: write a haiku (three-line poem with five, seven and five syllables in each line respectively). This was somewhat inspired by my poet friend Mike’s use of haikus to finish up his poem-stories (they’re great; you can read them over here).

    Today’s cryptic rescuee squeezed out from pages 179 and 104 of The Devourers and Marie Tarnowska respectively, both by Annie Vivanti Chartres.

    the words of a last toast insist that large fortune is laughter, love and nice wine

    raise thy glass to life
    death the cat and mouse farewell
    my red shoe kicks straight

  • Poem a day for 29 April 2018: You shall never be alone, he said

    Today’s rescued poem was another challenging one – plenty of nouns and verbs but not really useful combinations of tenses, hence the ‘clunky’ feel of the flow. I know the format of ‘husband-to-be’ is not really correct, but I’ve allowed it anyway.

    This rescuee slunk from pages 103 and 25 of The Devourers and Marie Tarnowska respectively, both by Annie Vivanti Chartres.

    You shall never be alone, he said

    She smoked a wistful cigarette,
    her head bent,
    her breath light and rapid:
    a crumpled creature.

    He had walked with her
    laughed with her
    had pulled her to him
    his dear lips had kissed her
    had asked her to marry him –
    her very own wish.
    Nerves had gripped her
    on the ivory morning
    of her wedding day.

    This blue evening,
    she is watching out
    for the husband to be
    who never turned up.

  • Poem a day for 28 April 2018: In the arms of an instrument

    I wasn’t sure what kind of poem I was going to rescue from today’s jumble of words: both pages of text were short so the vocabulary pot wasn’t very big. And of course there were the usual pronoun/verb/tense challenges that I’ve come to know, expect and even love!

    So this demure little rescuee slipped from pages 279 and 43 of The Devourers and Marie Tarnowska respectively, both by Annie Vivanti Chartres.

    In the arms of an instrument

    Now she is at rest,
    her coffin shut solemnly
    like her old violin-case,
    hidden by flowers
    as magnificent as the variations
    she could play;
    she was the violin
    holding the key of the strings
    holding the key to locked doors
    that opened as you listened,
    beckoned you in
    and lifted you up to die in this
    single
    treasured
    moment.

  • Poem a day for 27 April 2018: Sometimes life is dreaming an idea

    I found today’s poem difficult to rescue; I think that knowing I’m close to the end of the poem-a-day project may have quite a bit to do with it. (There are only three left to rescue after today’s!)

    The nouns weren’t very interesting (yet I used almost all of them, except for a few abstract ones); the pronoun–verb combination didn’t work the way I would’ve liked; and there weren’t many useful conjunctions (I really needed ‘until’ but it wasn’t there).

    All of this is so obvious to me when I re-read the poem, but it’s a curious one all the same.

    This one shuffled from pages 210 and 49 of The Devourers and Marie Tarnowska respectively, both by Annie Vivanti Chartres.

    Sometimes life is dreaming an idea

    It was morning when she broke through her chrysalis-shell.
    She looked about her, surveying the garden.
    She mused, but then leaped from the rose,
    willing herself at one
    with day, with earth, with fate.
    A bird with blue feathers called her vulgar
    but she shook her gentle head
    and grasped the flame of her belief to herself.
    Sometimes despair surrounded her
    but then she would remember
    to be kind to herself.
    At noon she found her talents:
    making verses from an idea
    making names for nameless things
    making a voice for someone;
    this was her life from that hour
    to the next,
    making,
    making,
    making.
    Then she struck the dead end of evening.

  • Poem a day for 26 April 2018: When a word is a bullet

    I found it a bit challenging to wrangle today’s rescued poem out of the jumbled-word mess. None of the words particularly inspired me, there was no ‘you’, ‘we’, or ‘they’, and there was a distinct lack of useful prepositions.

    For some reason I seem to have maintained the sing-song rhythm of the last couple of days.

    Just a reminder that these poems are not really edited much at all, and if I were to edit them, I’d have to make sure I replaced words with other words from the two pages of text so that the rescue process isn’t compromised.

    This little rescuee jingled its way out of pages 52 and 108 of The Devourers and Marie Tarnowska respectively, both by Annie Vivanti Chartres.

    When a word is a bullet

    Her pillow sobbed with grief at night
    her bed lay hard and bitter
    her wound could not be bound or dressed
    her sunken heart had languished.

    Every word of his were flowers,
    his lips were lines of sunshine.
    When he called her, she would smile,
    gladdened; dancing; trembling.

    Futile, now, to speak about
    the sun, the apple-blossoms;
    he had whispered to her: l o v e.
    Then he had laughed, and left her.

  • Poem a day for 25 April 2018: I remember a caring Lord

    Today’s little rescuee is quite extraordinary.

    Not for the quality of the poem itself, but for its content and focus.

    Robert and I had what you might call quite a vigorous conversation earlier in the evening about the Catholic church (within which I was raised) and my anger at, and feeling of betrayal by, this institution which has shown itself to fail so terribly in living up to its own teachings and in caring for its congregations.

    The bundle of jumbled vocabulary available to me today happened to contain some key words relevant to the topic and voilà! a rescued poem mysteriously relevant to my present state of mind.

    This poem incanted its way from pages 167 and 26 of The Devourers and Marie Tarnowska respectively, both by Annie Vivanti Chartres.

    I remember a caring Lord

    I wake and pray to a doubtful God
    How bitterly I talk that lovely language:
    Say His name devoutly! Be afraid!
    I have held him tightly to my heart.
    Now my eyes are full with tears of poison.

    He was all to me; He was my all:
    My soul a golden morning in His prayer;
    His voice a turquoise evening in my home;
    A time when love would keep and would not leave.
    Now my eyes are full with tears of poison.