Silver Branch series
Elizabeth Fevyer
.jpeg)
Elizabeth Fevyer grew up in Bournemouth and moved to Cardiff to study Law at University, eventually laying down roots in the Welsh Capital.
Having loved reading and writing poetry as a child, it was the death of her childhood best friend, Claire, in 2021 which prompted Elizabeth to commit to taking up writing again. In 2024, she began studying the Undergraduate Diploma in Creative Writing at the University of Oxford. Over the past two years her poems have appeared in publications including The Alchemy Spoon, Black Bough, Carmen et Error, The Madrid Review, After…, Crannóg and The Storms Journal. In 2025 she won the Walk Listen Create Write About Walking poetry competition.
​
Instagram: @elizafevwrites
X: @ElizaFevWrites
Bluesky: @elizafevwrites.bsky.social
​
Jellyfish
I dream in shades of purple,
of shimmering confections
dished on plates of cuttled sand.
My ankles reek of flesh-clung seaweed,
the acrid scent of shell-crushed evenings
on paisley-patterned beaches.
These days are hopscotched
from my mother’s towel. From underneath
the screaming gulls, to where the shore
foams bright as marshmallows.
This place is empty of the living,
but I am here, dodging, bouncing.
I am dancing on cadaverous balloons.
Stained-glass windows bloat
and threaten at my toes. The sting
of saltwater makes haloes of my eyes.
I am brave. I am danger. At night,
I dream of landmines underfoot.
​
The Smell of Baking Croissants before Dawn
It is too early –
even for the cobbled ladies
who wear black and drag
their shopping trollies behind them
like obedient toddlers.
Too early for the peeling shutters
to fling their emerald smiles
against the brittle chalk of morning
and beckon back the sky
into their kitchens.
Too early for the pop and scrape
of metal lids on jars. For silver
teaspoons ringing like glass bells.
For bellies treasured full
with heaps of bleeding rubies.
But it is not too early for those who know
there is no day without this longing.
Who suffer this: to breathe
these layers of want and buttered air.
To taste the sky, baked gold.
The man in the Tabac gifts me a pen
It is a tiny plastic carousel, perched
upon a candy pink and blue-striped column.
He shows me how to make it move and spin
with flick of finger, tells me it’s for writing love letters,
for when I’m older. But even now I feel the weight
of this false plaything, and my body stiffens and resists,
but he insists that I remind him of his daughter.
The one he never sees.
My mother reaches out to fill the vacuum of my refusal.
I don’t think anyone has called me beautiful before.
​​​
​​​
Supermarché, 1989
It is the smell which draws me in.
Somewhere between cantaloupe
and ripened brie. A rinded coupling
of novelty, stacked high
in foreign places.
Bright temptations beckon me.
Perfect globes of palest green.
Bosomed, veined with darker shades.
I marvel at their fullness.
Wonder at their sameness.
I lift one, gentle as a baby’s head
and weigh the golden echo
of its hidden flesh. I raise it
to my face and draw my lips
across its flaxen lace.
The air hums dry with electric chat
and the ping of the cash register.
Eternal Flame is playing on the radio.
My parents wave at me to hurry up,
tell me not to touch.
​​​
Artichoke
Flower, disguised as a knife.
Brave fingers pry and butter
at your ruddied gills. Fibrous
blades salt-out your tender promise.
In steam-dripped halls
we drag our teeth
across your open palms.
Your bleeding heart is our reward.
​​
​​
​​
Petit Chat
At first, we didn’t think she was a kitten.
All matted ears, crowned
with crusted balm of milk.
A tiny, fluffy, glam-rock alien.
Two startled grapes for eyes
and a cry as narrow as a pin.
Orphan, the farmer told us.
Didn’t think she’d last the week,
between the foxes and the hunger.
But he hadn’t counted on the mothers
waiting in the dairy shed.
The oxytocic warmth of sun
dreaming from their silken backs.
The liquid gold, weeping
from the hollows of their breasts.
The way a mother’s grief makes way for love.
​​​
​​​
​​​
​​​
Pain au chocolat
She’s been gone an hour already
and he doesn’t know what to do
about the children spooning Bonne Maman
directly from the jar into their mouths,
their faces beaked with anxiety,
wrapped in self-sufficiency.
A feathered morning, primed
for the angel-sound of falling soles.
When she returns, her arms grown
heavy with the pain au chocolat,
it will be because the queue was long.
The ovens were too slow to heat,
then ran too hot,
and it was time to start again.
​
Sail
Chase the silence of her closing bell,
a tilted sail of bioluminescence.
Back-to-the-sky, empty of heart
and mind, but lobes enough
to pulse and ride the waves.
Beware the party-polyp of her body,
the deadly ribbons dancing
ganglions from her belly.
Seek, but never glance her barb.
She has entered her Medusa phase.
Disarm
The finest thing the waiter tells us
with a twist of head and snap of finger
A pile of steaming bodies tangled
high upon a silver platter
Exoskeletal lemon-wedged
and rosy in their rigor mortis
It’s satisfying work
to peel the shell clean from its back
pinch the bass clef body
from its shattered cradle
Disarm
and toss the orphaned head and claws
into the up-turned helmet of a metal bowl
What’s left surrenders swiftly butterflied and tender
into stiff white mounds of mayonnaise
The stainless-steel bowl
is an amnesty of armour
My belly is an acid grave
Iron Harvest
Is this terror or relief he feels
as he lifts it from its muddy grave?
How many years to exorcise the ghosts
of wheat and heavy rain on buried metal?
These working hands which gentled
newborn lambs to cry, now cradle it,
this dirty pineapple. A sudden move
could lead even a sharpened mind to slaughter.
It is not a farmer’s job to do this raising,
to dowse the live wire from the dead.
But, still, he cannot turn his back,
knowing this is how we care for what is broken
and all of it is broken.
Not the last time Earth will purge her grief.
Just one less shard untilled, unturned,
waiting for someone to take it away,
to make it safe.
​​
Tree
This is the place
where my parents meet again.
My mother, reincarnated as a waving Santa.
My father, a yellow satin-ribboned bauble,
frayed a little at the edges. Both of them
a silent night, suspended by paper clips.
It is their first Christmas together
in these foreign branches. Their first in years.
I choose their places carefully,
in the warmest fairy light. The same height.
Not too close.
Elizabeth on her poetry:
It’s the feeling of connection between the poet and the reader which I’m always striving for in my writing. The best poetry bridges cultures and lifetimes, and it always asks something of its readers. It is not a passive or objective experience, but a genuinely collaborative endeavour. The reader is a critical part of the poem and there are at least as many ways to connect with what’s on the page as there are readers.
Despite starting to write at a young age, I’ve hardly been prolific. While sorting through my late father’s things a few years ago, I came across several stapled-together ‘books’ of poems, written (and illustrated!) by seven-year-old me. In the intervening decades, motherhood and a legal career afforded limited time for me to put pen to paper. It was during times of profound challenge, including close bereavements, that I found myself instinctively reaching for poetry again, first to read, then to write. Now that I’m in my forties, I read and write for joy. I have consciously created more time and space for poetry, and every aspect of my life is better for it.
I’m fascinated by memory and how our stories are living things, made and remade through their telling. Since becoming a mother, I’ve reflected on my own childhood, the objective shape of my memories, and the richly subjective details and undercurrents of feeling woven through them. Writing about childhood as an adult feels like an exercise in perspective-taking and interpretation, a chance to connect the dots and find new meanings in the re-telling. This will always be interesting to me.
I’m amazed at how, much like childbirth, some poems seem to burst onto the page with a single push, while others toil laboriously before eventually taking breath. I couldn’t tell you how I write a poem, other than to say that with the exception of a few lightning-speed deliveries, mine are usually coaxed into life during the editing. I often find my last lines at an early stage and work back from there.
Humour is an essential part of writing for me. I’ve developed a bit of a gallows humour as I’ve gotten older, and I enjoy the fact that poetry, much like life in all of its glorious multitudes, permits sorrow and joy to exist alongside each other.