We launched on the 1st September, finally unveiling the team behind Fawn Press over on social media, so get to know a little more about us, our background, and what we enjoy about poetry!
Scarlett Ward Bennett – Founder & Editor
Lexia Tomlinson – Editor
What sort of poetry do you like to read?
Lexia: “Ah! This question is always a good one. I am a book addict with pretty eclectic taste. I love the classics and the contemporary alike; I always want to devour poetry across time and continents.
I often revisit my favourite collections and anthologies such as William Blake’s Songs of Innocence and Experience , Warsan Shire Teaching My Mother How To Give Birth, Candy Royalle Heartbeat and The Penguin Book Of Modern African Poetry.
I am attracted to poetry that uses its platform and power yet plays with every notion of what you thought was possible with linguistic and literary features.”
Scarlett: “I agree with Lexia in that I enjoy poetry that teases your expectations and preconceptions. I love it when poetry shines a new light on the small details of life, perhaps the mundane and domestic, and revealing it in a new light or somehow augmenting my understanding, battering my emotions. I think Liz Berry’s soul-wrenching examination of Motherhood, or Nina Mingya Powles’ delicious analysis of food in relation to identity.
I love that poetry is always rebelling against itself, always inviting writers to redefine the definition and expectations of what poetry can be. I love Cynthia Miller’s experiments with form and structure, and how Luke Kennard writes a contemporary response to Shakespearean Sonnets. It is an ever-digesting self-consuming and rebirthing animal, and that’s what makes it so exciting!”
What Kind of poetry do you love to write and perform?
Lexia: “I love to write imagery-dense Narrative poetry in the first person pronoun;
I aim to paint a picture or have a movie running in readers or listeners minds when reading or hearing my poetry.
My ethos is entwined into my writing. I am driven to break down the personal and political barriers people feel exist in our daily lives and the world around us. By writing and performing my work in the first-person pronoun, I have found over the years, readers/audience members are more engaged and empathetic to the topics/issues I am presenting them.
This is so important because I truly believe humanity is at its best when we are empathetic to each other. It is an actual change-making vehicle.
If I am not political with my work, I want to play! I love to go to workshops and writing retreats and try out new styles and themes I wouldn’t have thought of attempting on my own.
I like to carefully curate my setlist when performing because performing poets are like emotional conductors in charge of soundscape and atmosphere. I want my audience to leave feeling better than when they came in.
Scarlett: “I’ve always considered myself a “Page-Poet.” I’m usually the one reading from their phone if I’m at live events. I feel much more at home when I’m working with words on the page in a visual sense, playing with the white space on the page and experimenting with the effects that line length, form and structure can have.
Everything we write is political, anything I write would be produced through the lens of a queer, working class woman and so would be queer, feminist, working-class poetry. I love to focus on nature and the impact that modern society has on our relationships with our bodies and one another as humans.
One of the reasons I was so drawn to working with Lexia was the way in which her practice embodies performance poetry, and so together I feel like we have the visual and the musicality interpretation of poetry covered, as our personal practices complement one another in their differences.