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Kate Behrens introduces three poems from her latest collection ‘Transitional Spaces’

Several poems in ʽTransitional Spacesʼ were written during lockdowns.

ʽBreakdownʼ arose from trying to support a friend during that time. The physical terrain in the poem is chalk, with all the implications of that. I wanted the ʽyewsʼ to be ambiguous when the poem is read out loud: mental collapse can involve the disintegration of ideas about who we/you are. The ʽCycladic headʼ came from the real finding of a flint that had elements of those tiny Neolithic Aegean sculptures, ones that reduce the human form to its most essential and enduring components: things of beauty with all unnecessary detail lost. It had felt like some kind of talisman.

ʽNarcissi on Valentineʼs Dayʼ started off as a poem about my late twin: the red-tinged trumpets trembling in the wind had triggered a memory of her when asleep, but I hadnʼt registered that I was writing it on the 14th February. It then turned into a more traditional love poem.

ʽThe Look of Transitionʼ began after I stood by the North Sea in Aldeburgh at night watching the hypnotic monochrome patterns of waves breaking, and the next day, a flatter, dun-coloured and less reflective surface. It was just after a series of deaths of friends and family members, including two brothers, and all within a few months of each other, a time of sharpening perceptions, as so often happens. The rhythms of nature were a comfort, and seemed the only certainty.



You stab at birdsong with disavowals,
muffled as a doped-up dreamer.

Bonelessly writing himself on blue,
a crow seems to spell it out
in the guiltless act of flying.

I offer a flint ‘Cycladic head’
found in a quiet swollen by yews.

It passes through unsteady hands like water.


The slope is thick with spokes and frozen
arms. Silence is a gravitational force

holding the chalk in place,
allowing in one bird whose

single note, tremulous,
stretches through unexplored spaces,

searches like a parched tongue.
The answer’s almost inaudible,

but it comes.


Narcissi on Valentine’s Day

The body’s long-ingested springs
spring in the veins,

though quietened
re-spark darkened blood,

as trumpets of lighter red lift
and suggest

the lilt and tilt of a loved one’s mouth
shifting in dream.


The Look of Transition


This dun unrolling doesn’t reflect us.
Seagulls rest secretive
eyes under hollow bones.
A cut-out boat is tissue-thin,
horizon’s a bent

It waits to ping now
into then.


Night’s waves shelve silvers for blacks,

in rhythms not ours,
and ours.

Alien heartbeats the hours

in failing bodies
(now flashed with graces
darks allow)


Each wave sheds silvers
for blacks,



The pendulum’s swung:
rooks flung over
the pine, back again,

pattern a raucous conversation,
leave a ghost-looping
where questions


Transitional Spaces book coverKate Behrens’ most recent collection is Transitional Spaces, published by Two Rivers Press in April 2022. It follows on from her first collection, The Beholder (2012), Man with Bombe Alaska (2016) and Penumbra (2019). Other poems have appeared in MslexiaBlackbox ManifoldStandThe High Window, Reading Universityʼs Creative Arts Anthologies, Poetry Salzburg ReviewWild CourtNoonThe Arts of Peace (Two Rivers Press) and as Oxford Brookesʼ Poem of the Week.

Read more about Kate’s poetry here.

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A new poem from Kate Behrens ~ Your Sisterʼs Tapestry Cushion

Your Sisterʼs Tapestry Cushion
i.m of my grandmother, ʽCullerʼ and her sister, Den, daughters of a painter-mother.

In this view
weft-faced yews (Ucello darks)
strew the escarpmentʼs
grey-green, mint, plaster, white.

Her mind was stitched
into yours, yours into mine
(those colours spoke like a mother tongue).

From a distance, itʼs leaping wildness,
the in/out of things
sewn up. Shadow and lightness.

Weʼd sit on your sofa in drifts
of Silk Cut smoke, Ma Griffe.
Tonal shifts made patterns

to lean on, with the thick curtains
drawn on blue cedars.


Kate Behrens’ most recent collection is Penumbra, published by Two Rivers Press in January 2019. It follows on from her first collection, The Beholder (2012), and Man with Bombe Alaska (2016). Other poems have appeared in MslexiaBlackbox ManifoldStandThe High Window, Reading Universityʼs Creative Arts Anthologies, Poetry Salzburg ReviewWild CourtNoonThe Arts of Peace (Two Rivers Press) and as Oxford Brookesʼ Poem of the Week.

Read more about Kate’s poetry here.

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Poet of the Week – 1: Kate Behrens


Kate Behrens is the daughter of two painters, and a single twin. She saw herself as a painter initially, in part because poetry was her twin’s territory. Her father had several well-known poet friends, and visitors to the house included Stephen Spender, W. H. Auden, Hugo Williams and Dom Moraes. A long time after Kate’s twin took her own life, in 1985, she began writing poetry and, under the persuasion of a poet-friend, sent a new poem off to that year’s Mslexia competition, where it was a runner-up. This was in 2010, and it marked the beginning of her life as a published poet.

Kate is a regular reader in open-mic events at Poets’ Café in Reading, where she came to the attention of John Froy, then the poetry editor for Two Rivers Press. Her most recent collection is Penumbra, published by Two Rivers Press in January 2019. It follows on from her first collection, The Beholder (2012), and Man with Bombe Alaska (2016). Other poems have appeared in Mslexia, Blackbox Manifold, Stand, The High Window, Reading Universityʼs Creative Arts Anthologies, Poetry Salzburg Review, Wild Court, Noon, The Arts of Peace (Two Rivers Press) and as Oxford Brookesʼ Poem of the Week. More poems are forthcoming in Stand and Axon: Creative Explorations.

Kate Behrens writes:

“An artist friend recently asked, ʽIʼm interested in why you risk being obscure in your poems.ʼ My first thought was thanks for your interest! Then: I am not either deliberately obscure or taking unusual risk. Itʼs a daring question − one I wouldnʼt mind asking certain lyric poets myself, if only because it might reveal some intimate details about their practice.

Attempting an answer to someone who wasn’t a poet was useful. I have edited that written response, but it went something like this: I can only really answer the question by describing how the poem guides me, rather than vice-versa. Words and/or images have usually arisen from a kind of small electrical charge, produced by a collision between inner and outer worlds, and meaning, ʽpay attention here, there is something happening that requires the maximum sensual receptivityʼ (poets become alert to false stimuli which can be quite barren and lead them astray).

That ʽchargeʼ might reveal the raw material, then elicit specific poetic devices that accumulate until first words and images have a sound-environment they can breathe in and a readable context from which to communicate. The first mysterious alert (rarer than I would like) often triggers a precise metaphor for some barely conscious but potent preoccupation or idea that needs expression, not unlike dream communications which can happen in simultaneous sensory ways. But at first the practice can feel like fitting bits into a complex design without being 100% sure of the purpose until the end-goal is suddenly illuminated: when in this mode, it is as if the poem knows the poet better than the other way round. Usually a last refining expands the final meaning(s) (ʽmeaningʼ in its broadest sense). Sometimes the inspiration is simpler, a surge of feeling aroused by some event.

My poems feel best to me when some elements can flicker between interpretations, which seems most true to life, although writing them is not an arbitrary search (when they work, everything is contained in that first stimulus). Finally I ask myself, is this poem one that others could relate to, even if they don’t altogether ʽunderstandʼ it? As well as experience, that can involve a degree of trust, both in the poem and in it finding the right reader. It must be just intelligible enough: to rob it of a certain kind of complexity can rob it of potential reach, but it must not be impenetrable to every kind of intelligence either. The degree of obscurity or transparency is intrinsic to each poem, not an objective. Much of the time I am honing it down.

Despite the subjectivity described here, the poem must not be solipsistic; that judgment can be a subtle one and is unavoidably subjective. Semantic ambiguity helps for this reason, but it needs to be an accurate ambiguity. And the poem must create an unequivocal realm: the reader can enter it or stay outside it, but I must be sure of it. That is an almost physical sensation, a feeling of rightness.”


Where our footpath kinks,
this logjam. Hijacked breaths
articulate steam ghosts…
clattering anxiety.

Strings are pulled.
They canʼt fall apart, must shorten.

Grey lips flinch, furl
up messages. Theyʼre safest
silencing stabs of discomfort.

We lean back, into brambles.
Threaded flesh sparks as it passes,
naked as newly peeled chestnut.

Then theyʼre distanced, cut-outs.
Uccello colours crown the escarpment ‒
reds, white, brown,
the black trees over disquieted fields.

[From Penumbra]


Creativity feeds in shadow,

Below the plumbline
of a thinking mind.

So you feel down for it.
Loneliness is all you find.

It climbs into your lap,
breathes out anomalies:

a chimera with humid bumpy skin.
This creature weighs a ton.

Creativityʼs weightless.
Its cradle is sure feeling

rocked by currents through negative spaces.


Read more about the Two Rivers Press Poet of the Week feature

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Review of ‘Penumbra’ in South 60

D A Prince gets to the heart of Kate Behrens’ Penumbra in his review in the recently published edition of South, 60.

In this, her third collection from Two Rivers
Press, Behrens concentrates on ‘…
the dead’s/ irreconcilable parts’ in poems
pervaded by grief and loss. This focus
shapes not only the content of the poems
but also the forms and syntax;
single-word sentences demonstrate the
sensation of thin-skinned vulnerability
and the brittle nature of pain. Her lines
are taut, tightly-held and sometimes
cryptic, as personal poems can be. There
are fragments of dreams and broken
scraps of memory, representations of
how the mind attempts to reconstruct the
past and the dead.

Behrens’ poems give us one way
to connect with an ever-shifting sense
of loss.

Penumbra final

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POETRY & EUROPE, A Celebration

However the United Kingdom and Northern Ireland leaves the European Union, if it does, the long and deep-rooted connections between the poetic cultures of these islands and those of continental Europe will continue to be, and need to be, sustained.

As a celebration of these continuities, whose existence has, if anything, been made more urgently manifest by the current political crisis in which the countries of the British archipelago find themselves, the Department of English Literature at the University of Reading and Two Rivers Press, the town’s most prominent publisher, hosted an evening of readings featuring poems and translations from or about experiences of Europe.

This event also served to launch two new volumes on these and related themes, Ravishing Europa by Peter Robinson (published by Worple Press) and A Part of the Main by Philip Gross and Lesley Saunders (publish by Mulffran Press). Jane Draycott, reading from Storms under the Skin, her translations of Henri Michaux (Two Rivers Press), a Poetry Book Society Recommended Translation in 2017, joined them; and the evening, hosted by Steven Matthews, included guest appearances by other poets published by Two Rivers Press in 2019, including Kate Behrens, James Peake and Conor Carville.

The event took place in the foyer café at the Museum of English Rural Life, Redlands Road, Reading, on Tuesday 12 March 2019.

This event was supported by a grant to the Department of English Literature from the Endowment Fund of the University of Reading and by gifts in kind from Two Rivers Press.