New Poems from Sadie Maskery


should I say that the sound 
of your name on another's lips 
is the thinnest blade -
ice, or spun sugar -
gently penetrating some small
secret casket, a neat trick,
I am a magician's doll
pierced by syllables,
or should I say
that your bone and muscle
shaped through shirt,
collar askew, make my
sinews sing ecstatic
despairing songs - should I say
the shadow of your cheek
makes my heart groan 
with desire or should 
I say, 'Hullo, been a while,
Nice to see you,' and smile.


It wasn't that he didn't tend his plot.
Each day he would sit in the office,
letting insults sink into his skin
with a smile; process data,
the numbers reflected in his eyes.
Each evening he would dig
the bare ground, until ten. In summer
the sun would bleed into dusk
over his spade patiently turning the sod.
In winter, the starlit street would be still
except for, behind the dark hedge,
the steady thunk and grind of earth 
twisted and replaced. No seed.
No green shoot or delicate tendril.
No fruit or wriggling worm to tempt the birds 
that watched in silence each rolled clod.
No song. 
Just his foot pressing down, a ceaseless 
shovelling, in rain, snow, baking heat.  
Remorseless rhythm resonating, the 
driving in, the heave, the brace, 
turn at the fulcrum, release, wetly slice
or shatter in dust, he knew the underflow
below his blade, he felt its tug. He dug.
Patient. Things buried deep by time's tide
became flotsam, he dug. He dug. He dug.
Small things would clink against the steel. 
He would bend, pick up a shard of white, 
a grey rag, something decayed 
but persisting faintly in his palm.
At the office sometimes he would hold
an oddment still smelling of earth.
Smile. Squeeze it to shapeless clay.
Stare at the screen. Wait patiently
to dig again.

Bio: Sadie (@saccharinequeen)
Sadie Maskery lives in Scotland by the sea with her family.  Her writing will be found in various publications both online and in print, and she can be found on Twitter as @saccharinequeen where she describes herself, optimistically, as "functioning adequately ".

2 poems from Sadie Maskery influenced by Bob Dylan Series

Bob Dylan Hand Drawn Drawing Portrait, Caricature Vector. Illustration vector illustration
From Doddis (c) on Dreamtime

One more cup of coffee

Like dust, smoke, the song of a lark,
the touch of your hand,
that point where gravity defies
a body's desire to float and you are pulled down
to the ocean floor...
That point, high above the horizon,
which determines a landing back on safe green ground  
or eternal flight...
Gravity is so gently made, 
more a plea than command, come back to me, come back -
and here we stand, at that same point 
talking all done and a decision to be made -
do we fall, fly or drift apart? come back to me, 
come back.

mr jones

      it startles me, 
the way our bodies
         know how to     fit      together
when conversation (hi! you look well)
has always been   so  /  awkward  /
i suppose chat 
         (still gigging?)     is irrelevant 
when our lives 
           are forever
                 on different paths
                                just this
one crossroads involving
        legs            and             hair 
(remember when
   you had hair      i met you at
the party you said
                                 do you play guitar?
 have you read Tarantula?)
     now we are both 
a little                ragged and you       recede 
       and  shhhhh    my   memory)  and
    i never knew
        how simple this could 
be         no need for
                       interests in common
                            (i have never read
                                   poetry my god why          
                                       would i ?)
when the 
essential         thing 
                       the weight 
       of             love
           never to be mentioned
weather and
          sadness smells
like dust on a highway 
               (something   ah
something is happening 
here but we don't 
               we can't know 
    what it is)

A book review of “Push” by Sadie Maskery

Poetry Re-Post for Leonard Cohen Week: To the End of Love by Sadie Maskery

3 poems from “Push” by Sadie Maskery “Lost Child” “Rearrangement” & “Once we were”

Poetry Re-Post for Leonard Cohen Week: To the End of Love by Sadie Maskery

to the end of love
music is the last memory 
                   perhaps a fragrance 

                   outlasts it      but          here

there is only 


                    my darling your hands


                                         so       cold in mine

do you remember 


                  in the small cafe

                       you were      awkward     you 


so hard to please

              me but

my sweet heart                  you step

                   out of time        it is your



the melody

             the love         in your eyes

                holding            the melody   melody

i remember your


                        your eyes            closed

            your hands

hold me


     am so


the music is


                        hold me

                 hold me

Bio: Sadie (@saccharinequeen)
Sadie Maskery lives in Scotland by the sea with her family.  Her writing will be found in various publications both online and in print, and she can be found on Twitter as @saccharinequeen where she describes herself, optimistically, as “functioning adequately “.

A book review of “Push” by Sadie Maskery

a review by Matthew da Silva

These lovely poems reach out with straining hands to touch the infinite, to press between the pages of a book a moment in time, to capture forever a thought that might stray across the frontal cortex of any person’s racing mind. Or perhaps a lazy, resting mind, as when you’re surfing the internet eager for distraction. The attempt is usually successful, as in ‘404’, which invites us to see the failures of community as it exists online, a place of fear and foolishness where people resent connection before they find the fractured peace they secretly desire. In this experimental poem, Maskery alternates between a more conventional poetic diction and snatches of computer code, suggestive phrases (“HttpResponseMessage Get / (string connection))” that draw you into the authored, mechanical realm lying between everyday utterances written in cyberspace as part of a flame war held any morning of the week in Atlanta or Abu Dhabi. The internet “decays” but “I don’t exist without” it seems, the poet reflecting on the ephemeral by trying to nail down fleeting instants that disappear in the ether as soon as they come into stuttering existence.

A disconnect also exists in ‘Do not enter’, a monologue by a person meeting a visitor at the door. The invitation appears sincere although there is a sign on the door telling people to keep out. Why has the visitor come? It’s not clear. There are no clues as to how this person decided it was apposite to knock – though life is like this, isn’t it? – but what he or she hears should, perhaps, reassure. Questions are raised and some are answered but the sense of foreboding that rests once the poem ends suggests that something is amiss.

This dislocation is repeated in poem after poem, for example in ‘make me’, which is, again, about the internet. Here, in a few words, Maskery tries to understand – and to communicate to the reader – something about its allure, but while the outlines of debate are defined there exist by the end of the poem – which is not long – more questions than answers. What is virality? How does this rare exposure help us to become more completely ourselves? Or is that not the appeal? Perhaps the answer lies in the message of the previous poem, ‘Prayer’, which is addressed to “gods of the ephemera” so that “sins may be sold” (if they could be, we’d all be rich) and “let us devour” the body “sacred / scarred” that we worship.

I really enjoyed reading these digestible items, and the collection often veers off into the inexpressible, as in ‘i’m so sorry, it’s just’ where it’s never clear exactly what the narrator is talking about, just “one sweetness / one beauty” “residue / from its grind / smirching / the smell of small things” though “why / pretend all is well” in this world of destruction and release, of small things broken apart and devoured (looking back to ‘Prayer’) by anonymous crowds of people (looking back to ‘404’)?

Surprises lend their appeal to the chorus of sorrow Maskery unmasks, so in ‘Thread’ the message is thin but eloquent, a single phrase written down to look like a pair of threads – perhaps a strand of DNA encoding our identity – that sit upon the page like flags flying above a parapet on a windy day.

The waves of the lines are enticing and strange. In ‘Beginnings’ an uncommon enticement reveals the outlines of desire, a moment rendered in words like a synapse firing, “The first time we meet the shock / is there but small” and the poet goes on to lay out in miniature the universe of the mind that that instant unfurled. This is a masterpiece of expressive competence, a very strong poem that unearths worlds that are normally buried in the vast wildernesses of memory. As I read I started to recall things that had happened to me, a night when I was maybe 21, a day I went to a party in Double Bay, various times that happened in my life – so long ago – arose to conquer my attention in the flickering present where images combine with the pulse of the computer screen to reveal the mind’s frail existence in all its broken lightness and sorrow.

So the positive dwells in this collection of short poems – many are one page long, some are two pages long – alongside the negative (see especially ‘Networking’), the euphoric (see for example ‘Art’) with the base, the high with the low, the thing to be celebrated with the pain of despair. I was struck by the flexibility of Maskery’s evocative voice, its ability to accommodate a range of ideas and to give utterance to an array of different feelings. This is a memorable book.

Order here:

3 poems from “Push” by Sadie Maskery “Lost Child” “Rearrangement” & “Once we were”

A Fevers of the Mind Quick-9 Interview with Sadie Maskery

Poems about “Connections” by Sadie Maskery

3 poems from “Push” by Sadie Maskery “Lost Child” “Rearrangement” & “Once we were”

Lost Child

A stray ghost, I think as I lie in bed. 
She would definitely have fun here
in my sleepless head.
Noone really likes hide and seek -
there is the terror of not being found,
through spite or neglect; is that
how ghosts are made, hiding and noone
to find? but I contain oh so many 
forgotten wardrobes and worlds.
I see her with dusty knees and pockets, 
(I would make sure she always 
had pockets, to keep her treasures.)
We would sew tiny books
from scraps of paper and she 
would write secret messages 
to me, her imaginary friend, post them
in the nooks of trees in my mind,
that lonely dreamscape with the mist
and dragons and dusty furniture 
my hollow heart, hands, belly,
empty rooms to hide.


Her energy is more disorderly 
Scattered through the space
Where she used to sew hems
Sip tea, wear socks to warm her feet
On the kitchen tiles.
She bounces from the shine
Of chrome taps and empty mirrors
Frantic as a bird 
Beating against captivity.
Death is. Death is just
A rearrangement. She is 
Still here, in fragments.
I try to catch a wisp of the laughter 
The smile of her, the kiss
Try to forget 

Once we were

where did the anger go
          to crush 
reduce to fucking 
even those split 
by our ferocity 
the visceral 
        thrashing with
        ecstatic rage 
heads thrown 
                     not howling 
                     but from the bowels of us
                     sound dragged from the 
they dug 
for us
we flew 
to monstrous 
we sparked a war
and traded 
                 our integrity
             a semi

Bio: Sadie (@saccharinequeen)
Sadie Maskery lives in Scotland by the sea with her family.  Her writing will be found in various publications both online and in print, and she can be found on Twitter as @saccharinequeen where she describes herself, optimistically, as "functioning adequately ".