Issue 1 index

Meet the Editors & Designers


Rhys Shanahan

Rice Paper
Damon Young

Hopkins & Hallam
Note from Naomi Lebens

Before I go I have to say...
Kate Pursglove

Some Other Where
Steven Matthews

Weekend Poems: Breakfast
Eleanor Burleigh

Aged 7
Jean Watkins

Childhood & Plastic People
Zeng Chen

Street Scene
Peter Robinson

A Martian Writes
Michael Hutchinson

The Tarot Reading of The Fool

Stop Making Sense & Bla bla bla
Jenna Fox

Fringe Festival
Claire Dyer

When you have hope of life returning, this
Kate Noakes

Broadwood 7362
Gill Learner

A Drop in the Ocean
Lindsey Jones

Pitch of Ghosts
Vic Pickup

23rd February 2021
Kitty Hawkins

The Sofa
Tara Bermingham

Trophies on a Windowsill? & Still (monetizing) Life
Laura Rozamunda

Good to know perhaps, but nothing to be done
Kate Noakes

Heading Out
Michael Anania

The Threshold
David Brauner

Hannah Lily

Park Recollection
Liam Anslow-Sucevic

Rhianna Bryon

Ephemerality of the World
Salma Haque

The August Elvis Died
Gill Learner

Michael Anania

Hit Me Gently
Daisy Dickens

Broadwood 7362

Picture this: batons of ivory and ebony; iron wire
of different thicknesses; hammers to tap them, make
a soundboard resonate. Arranged inside mahogany
from Spain they became a gift to a German genius.
It travelled seven months: first by sea from London
to Trieste, then to Vienna over land.

But imagine this: three tiny bones were fusing –
stapes to incus onto malleus – distorting signals
to the brain: bass was blurred, treble quivered as if
from far away. Meanwhile inside the stricken head
sausen und brausen: whoosh and roar. The composer
beat so hard upon the keys that ‘broken strings
were mixed up like a thorn bush in a gale’.

Piano-maker André Stein learned of Beethoven’s distress,
formed a cardboard horn, covered it in beaten zinc.
With its dome above the music stand, it narrowed
to the piano’s length: sonorities were captured, amplified.
Outpourings hadn’t faltered with the inability to hear
but, for a while, despair was modified.

The quotation in stanza 3 is attributed to Johann Andreas Stumpff,
a Viennese piano maker.

Biography: Gill Learner’s poetry has been published in a wide range of magazines, won or been placed in numerous competitions, and appeared in quite a few anthologies, e.g. from The Emma Press (, Grey Hen Press ( and Two Rivers Press ( Her first collection, The Agister’s Experiment  (2011), her second, Chill Factor (2016), and her third Change (Autumn 2021) are all from Two Rivers Press; the first two have received positive reviews. More can be found on her web pages at:

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