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Silver Branch series

Elizabeth Fevyer

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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.

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Instagram: @elizafevwrites 

 

X: @ElizaFevWrites 

 

Bluesky: @elizafevwrites.bsky.social 

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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. 

 

 

 

 

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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. 

 

 

 

 

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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.  

 

 

 

 

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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. 

 

 

 

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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. 

 

 

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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. 

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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. 

 

 

 

 

 

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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. 

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