San Francisco, California
London, United Kingdom
A Beautiful Trick of the Light
Liz Berry was born in the Black Country and now lives in Birmingham. She received an Eric Gregory Award in 2009, an Arvon-Jerwood Mentorship in 2011 and won the Poetry London competition in 2012. Her pamphlet The Patron Saint of Schoolgirls was published by Tall Lighthouse in 2010. Her poems have appeared in many magazines and anthologies, been broadcast on BBC Radio and recorded for the Poetry Archive. Liz’s debut collection, Black Country (Chatto & Windus, 2014), was a Poetry Book Society Recommendation, received a Somerset Maugham Award and won the Forward Prize for Best First Collection 2014. Black Country was chosen as a book of the year by The Guardian, The Telegraph, The Mail, The Big Issue and The Morning Star.
Kei Miller was born and raised in Kingston, Jamaica. In 2004 he came to England to study for an MA in Creative Writing at Manchester Metropolitan University and then a PhD in English Literature at the University of Glasgow.
In 2006, his first collection Kingdom of Empty Bellies (Heaventree Press) was published. His second collection, There Is an Anger That Moves, was published in 2007 by Carcanet Press. 2010 saw the publication of his third collection A Light Song of Light and in 2014 his collection The Cartographer Tries to Map a Way to Zion was published for which he was awarded the Forward Prize. In 2014, Miller was also named as one of the 20 "Next Generation Poets", a list compiled every ten years by the Poetry Book Society.
Fiona Benson began keeping a poetry notebook at the age of 17 on hearing that someone she knew wrote poetry - suddenly poetry ‘seemed permissible and possible’. She discovered Seamus Heaney, Sylvia Plath and Emily Dickinson and says ‘poetry just gradually became the thing I depended on’. Fiona won an Eric Gregory Award in 2006 and a Faber New Poets Award in 2009. Her first full collection, Bright Travellers (Jonathan Cape 2014) shows she is as much drawn to the metaphysical as to the mystical, treating the poem as a kind of secular prayer.