10 Feb 2021: Poems to Live for 10. Readings by Claudia Daventry, Alex Josephy and Chris Woods

Wednesday 10th February 2021 9pm UK time

Poems to Live for: Session 10

Watch a recording of the session

Chairs: Michael Hulse and Donald Singer


Claudia 2

Claudia Daventry has studied languages, poetry and psychology and worked as a writer, translator and teacher in France, Spain and the Netherlands before moving to Scotland, where she now lives. Her poetry and essays have appeared in various publications including The Dark Horse, The Island Review, the Irish Literary Review, Magma, Poetry London, Poem, Raum, Measure, Versal and  anthologies from Bloodaxe, Five Leaves, Smokestack and Luath. Her work has won several awards and commendations, including Arvon, Philip Larkin and McLellan prizes, and was placed first in the inaugural Ruskin prize and Bridport Prize. She is interested in looking for ways to translate poetry other than linguistically, and working with composer Rory Boyle has recently written libretti for the Glasgow Commonwealth Games and Songs from the Marshes, a cycle of folk songs for the JAM on the Marsh music festival, performed last year on BBC Radio 3. Her solo chapbook, which won a Templar award in 2016, is The Oligarch Loses his Patience.

She won the 2019 Open FPM-Hippocrates First Prize with "for my Valentine in an fMRI scanner.
About the poem, she said: “It 
was inspired by the colours shown up by neuroimaging subjects with PTSD and TBI as the brain reacts to different stimuli, and seeing the beloved in a new light. Formally it’s a nod to a kind of scrambled love sonnet which has two halves set as if magnetically drawn to one another, a sestet between the two quatrains, and I had fun playing with the Latin and Greek terms for areas of the brain, their functions and the images they conjured up, either via etymology or just the music of the words. In its essence it’s about the ’subject’ as a human being, and, more, loving someone who may be termed ‘disordered’ from the outside, but whose brain on the inside lights up in glorious technicolour – and whose trauma makes them beautiful."


Alex Josephy lives in London and Italy. Her collection Naked Since Faversham was published by Pindrop Press in 2020. Other work includes White Roads, poems set in Italy, Paekakariki Press, 2018, and Other Blackbirds, Cinnamon Press, 2016. Her poems have won the McLellan and Battered Moons prizes, and have appeared in magazines and anthologies in the UK and Italy. As part of the Poetry School Mixed Borders scheme, she has been poet-in-residence at Rainham Hall, Essex, and in Markham Square, London. Alex is a poetry mentor and writes reviews for publications such as Envoi and London Grip. Find out more on her website: www.alexjosephy.eu

R Chris Woods 28.1.21

Chris Woods lives in Lancashire. His background is in General Practice. His poetry has appeared in Poetry Review, The British Medical Journal, The Guardian, The Independent, PN Review, The Spectator, The London Magazine and The Times Literary Supplement amongst others and been broadcast on BBC Radio and Channel Four Television. He has been a prize winner in poetry competitions and commended twice in the Hippocrates Prize. His poetry has appeared in anthologies in the UK and America. His first poetry collection, Recovery, is published by Enitharmon Press. His second collection, Dangerous Driving, is published by Comma Press. He was awarded the Second Prize in the 2016 Hippocrates Health Professional Awards with Blood Pressure Monitors. His poems are included in the current NHS Poetry Anthology, These Are The Handedited by Michael Rosen.

Reflecting on why he wrote Blood Pressure Monitors he said: "GPs measure a lot of blood pressures. I use a digital or electronic monitor in surgery, an aneroid or mechanical monitor with a dial for home visits and a mercury monitor for more complex patients such as those with heart rhythm problems. Mercury monitors remain the reference standard for the other types. After so many BP measurements in a day and the occasional very worrying one, the monitors are almost part of you and at the end of a particularly busy evening surgery may even take on a life of their own.”

For this session and future sessions, we welcome suggestions of poems (out of copyright and not your own) you would like read or to read yourself. Please email us as soon as possible with your suggestions. We can’t promise to use all readings or suggestions but we shall use as many as possible.

It must not be your own AND must be out of copyright. 

For example for literary works:
UK copyright continues for 70 years from the end of the calendar year in which the last remaining author of the work [including translator] dies.*

For the UK, if  the author is unknown, copyright will last for 70 years from end of the calendar year in which the work was created, although if it is made available to the public during that time, (by publication, authorised performance, broadcast, exhibition, etc.), then the duration will be 70 years from the end of the year that the work was first made available.

For the US copyright endures for a term consisting of the life of the author and 70 years after the author’s death [including translator]. 

For the US, in the case of an anonymous work, a pseudonymous work, or a work made for hire, the copyright endures for a term of 95 years from the year of its first publication, or a term of 120 years from the year of its creation, whichever expires first. 

onion © Hippocrates initiative 2012: hippocrates.poetry@gmail.com