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Silver Branch series: 

August 2025

Sue Finch 

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Sue Finch is a poet and a coach living in North Wales. She is the author of two poetry collections: Magnifying Glass (Black Eyes Publishing UK, 2020), and Welcome to the Museum of a Life (Black Eyes Publishing UK, 2024).

 

Vortex Over Wave, Sue’s coffee table book, was published in 2023 and features a selection of #ElasticBandPhotos and poems for the full moon.

 

Sue has recorded her work for iamb and has been featured on the poetry podcasts Eat the Storms and A Thousand Shades of Green.

 

Her first published poem appeared in A New Manchester Alphabet in 2015 whilst studying for her MA with Manchester Metropolitan University. Her work is now widely published by journals and presses including: Ink, Sweat and Tears, The Interpreter’s House, Dear Reader, One Hand Clapping, Black Bough, The Storms Journal, Sidhe Press, The Broken Spine, Ice Floe Press, Fevers of the Mind and Steel Jackdaw.

 

Sue’s work has been nominated for ‘The Pushcart Prize’ and ‘Best of the Net’. She won second prize in the Wild Words Single Poem Contest in 2020 with ‘Flamingo’, a poem which then went on to be included in her debut poetry collection, Magnifying Glass.

 

There is a rich element of the confessional to Sue’s work, and she is also influenced by fairy tales, dreams, and her rich imagination.

There's a Doll Thumping In My Chest

 

I spend a long time soothing her to sleep.

And sometimes I feel I’m running out of options.

 

When she cries,

and trust me she cries easily,

her whole body heaves.

And even when I’m calming her

there’s that long hiccupping of recovery

still stealing my air.

 

I don’t know if it’s the thought of people

knowing she’s inside me

that scares me most,

or that she’s going to beat her fists so hard

she breaks right through my ribcage

while they’re watching.

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And if the Soul is Connected to the Body

 

then I will grieve for the rest of my days.

 

Cry for its tethers

for the fact it did not choose me

did not float into this body to settle just a while.

 

I will weep that it cannot fly out at night.

 

If my soul cannot be mistaken for a bat

make a breeze that rocks a flower

pause for the eyes of an owl

 

I will howl for its dark future.

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Originally published by Black Bough.

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Under the Basin

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A cupboard,

painted lime green one summer,

with a clickable clasp

on the door 

and a dainty handle.

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From inside I could use my thumb,

push the ball in on that latch

release it slowly,

shut myself in 

with gentlest click.

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The day I found I no longer fitted 

beside the u-bend, in that space, I cried.

I had not known

this day would come.

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Published by Black Bough.

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Going to the Caves

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I am in a long queue for the cave tour. Stalagmites and stalactites are promised. I fear tightness, and more than that, being trapped. The guide tells us that we will see crystals the like of which we've never seen before. Then he warns us that there are times when it smells like multi-storey car park stairwells and sometimes all the torches fail. When I look at him, he reaches into his pocket. Here, he says, as if reading my mind, if you can't get out, take one of these. He offers me a circular, chalky-white tablet which I accept as he nods. It will kill you painlessly, almost instantly. I follow him, wondering if I will swallow the pill.

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Frogspawn

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The frogspawn in the pond

has stolen your reflection

placed it upside down in each jellied bubble.

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You pulse now in every black spotted sphere;

thick water daring you to the centre

of this paused life.

 

Vibrant green weed

invites you in,

ready to wrap you as you wade.

 

Your air is bubbles inside you.

 

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They Are Autumn

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And they look delicious

smoothed brown on the ground

with their snug little green hats.

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And I want to eat some

but I have forgotten their name

and I don’t know if you can.

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I give in to the temptation

to tread on some,

to feel them hold out

before my weight cracks them open.

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All I know is they fell from the tree above.

Its leaves are telling me it’s an oak,

and I know so much depends upon this tree,

but it takes me all day

to remember acorns.

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I Was Light In 1977

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so light I folded

in my cinema seat

to watch Star Wars.

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Tonight the seats seem smaller

I fear knocking the arm

of the stranger next to me.

I stiffen to sit

as if to narrow myself.

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Then he touches me.

 

Not an elbow nudge

Not the brush of knees;

this touch is in my nostrils.

 

It is damp bus aisles, 

the shiny patches on second-hand settees,

it is seaweed hanging from 

tide-abandoned rocks.

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I turn my face away to breathe.

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Tonight, I am heavy amongst strangers

wanting the scent of your warm neck.

Clapping

 

You can hear your own clapping

louder than anyone else’s.

You are not matching the rhythm

of anyone in this room.

Soon they will be looking at you

willing you to stop.

You try to change the way

your hands hit one another

but you cannot unhollow the sound.

 

 

 

 

Two Crows 7AM

 

Sticky red holds one fast.

Wind stiffened wings fan the air.

Grieving shadow swoops

rises

swoops again.

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Shadows of the Labyrinth

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At night I lick the bricks

to taste the salt.

I imagine my mother’s tears

or broken waters.

The dull beating in my chest

underscores the darkness.

 

I press myself against the wall

for the roughness,

run my fingers over the ridges

to soothe my pain.

 

If she came now and saw me

it would wound her.

My perfect skin,

stretched smooth over muscle,

now furrowed

with the shadows of the labyrinth.

She would reach for me

yearning in her fingertips.

But it’s too late to touch what is broken,

 

even the air would crack.

 

 

 

 

 

 

At an Impressionable Age a Teacher Told Me That That Some Inuit People Did Not Have Tooth Decay or Dentine

 

Her reason was chewing. Chewing so hard that the dentine disappeared. Somehow clenched out. So I went home and created a new habit of undoing two litre fizzy drink bottles with my teeth. I clamped the lids between my molars and then twisted the bottle oh so slowly. My grip was good. I could control the sound of the escaping gas. I felt the pressure in my jawbone and imagined the soft insides of my teeth diminishing. Now when I dream of him, I turn to bite those hands. I can feel his finger bones shattering as I tighten my teeth.

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I've Come to the Desert to See the Sand

 

I know now not to try

to count the grains.

 

There will always be those missed

because they’re lodged in fingernails

 

or hiding their casual grit

in peoples’ stomachs;

grazed first by molars, then swallowed

before they could be tongued and spat out.

 

And that softness when you let it fall

through your fingers isn’t real –

there is hardness there.

 

Even the colour diminishes

when you separate the grains.

You would need a microscope

to bring the beauty back.

 

Instead of counting

I stand

lift my head­

just look at that sand.

About My Writing

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I write to set things down. For me writing poetry is cathartic, confessional and slanted in equal measure.

 

I enjoy seeing where an observation or thought can take me. I have a writing desk in the corner of the lounge where there is room to tuck away into the quiet world of writing. The silence I find there enables me to say what I want to say. It also allows me to find out what is in my mind that I haven’t yet expressed or fully seen.

 

Although I might look relatively peaceful when I am at my desk, a lot is going on in my head. When the writing is flowing, I am actually on a fairground ride. Writing good poetry is like riding a ghost train... You start in the dark and have to wait for your eyes to begin to become accustomed to it. The track isn't always straight and the sudden turns spin your stomach. There are things that make you shut your eyes and things only glimpsed that dare you to focus in. You need to be ready to hit things hard and go right through.

 

A dream, a moment in time or a memory might all become the initial spark for a poem. When this happens I will jot a line or a brief note into my writing journal and return to it in a dedicated slice of writing time. I like writing in the early mornings or setting myself a time limit to work within. Some poems nudge their way in and demand to be written there and then, and these always delight me with their insistence. My wife, Kath, is often invited to ‘Poetry Corner’ (a chair in our lounge) to be the first audience and critical listener for the drafts I am working on. This helps me to get a full sense of the poem and how the words land when said out loud.

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Sue Finch

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