2018/2019


2018/2019

As the website hasn’t been updated for a long time and it’s December, Eileen is doing her own version of the 12 days of Christmas by choosing 12 poetry successes among many to mention.

Thank you if you have stopped by to take a look, it’s very much appreciated.

Eileen is grateful to the editors and poetry magazines that have supported and published her work.

Thanks to: Indigo Dreams Publishing, Eileen was extremely pleased to be voted into 3rd place in the Poet of The Year Annual Reach Poetry Awards for the year 2018.

On a number of occasions throughout 2018-2019 Eileen had poems published in Reach Poetry and had some of these poems voted into the top 3 by the readers of the mag and received a small cheque for each of these wins. The only poetry magazine in the UK that offers 3 poets cash prizes every month according to the votes of the readers. Visit the Indigo Dreams website and see what they do, here is my page created by editor Ronnie Goodyer

Had a poem chosen for the amazing anthology For The Silent, published by Indigo Dreams, aiding the work of The League Against Cruel Sports.

Hedgehog Poetry Press, Eileen was delighted to win the The 1st Annual Cupid’s Arrow Poetry Competition for her love poem What do we know of Time. For this she received prize money and 500 poetry art cards containing the poem.

Thrilled to have her poem Under A Budding Trees Moon become a Fauxlaroid after winning a challenge from Hedgehog Poetry Press and voted for by readers.

Honoured to have the opportunity to interview the wonderful and much-loved poet Brian Patten for the magazine Arfur published by Hedgehog Poetry Press.

Happy to be included in the competition winners’ anthology The Road to Clevedon Pier.

A portrait poem will appear in an anthology of portrait poems to be published in 2020.

Thrilled to have 2 photographs and a poem chosen for The Hedgehog Poetry Press 2020 calendar.

Honoured to announce this from award winning composer Dr Mark Keane ‘s website ‘recent compositions for mixed voice choirs include the setting of Eileen Carney Hulme's poem Belonging.’

This is published by Cailíno Music Publishers in Ireland. Mark is a music graduate of Trinity College Dublin and the DIT Conservatory of Music and Drama and is Organist and Director of Music at Tuam Cathedral, Co Galway, and Head of Music at Galway Community College.

Eileen was delighted to be the first poet published on the new and very lovely poetry magazine website The Beach Hut with her poem How safe the distance.

Finally, on a happy poetry note to end 2019 Eileen’s poem This, my once hometown will be one of eight poems to be published in 2020 by Hedgehog Poetry Press on the theme of My hometown in winter



2017


December 2017

As the year draws slowly to an end Eileen is grateful for another successful and happy year of poetry with a flurry of exciting moments during the last few months.
Some recent highlights include –
Winning The Brian Nisbet Poetry Award for the second time.
Being awarded 3rd place in the Annual Poetry Space International Poetry Competition judged by Mike Di Placido and also having another poem commended in the same competition.
Winning the local Elgin Writer’s poetry competition and reading the judges’ comments on the poem, a short extract ‘We all really liked this poem. The theme of displacement comes through very strongly, and there's a timely subtext of political history repeating itself. The poet manages to say an impressive amount in a short time, there are several levels at work but crafted skilfully into 19 lines...'
Having a poem chosen by Rosie Jackson for The Poetry Space Autumn Showcase.
And also with a different editor, Lizzie Ballagher, having a poem chosen for The Poetry Space Winter Showcase.
A further wonderful review of The Stone Messenger by the distinguished poet and academic R V Bailey is awaiting publication, here is an extract from that comprehensive and outstanding review.
‘This collection is the third from Eileen Carney Hulme, and as her readers I’m sure will agree it’s a welcome addition to the earlier two volumes, and perhaps the best yet.
She hijacks weather, colour, seasons, scents and senses in the service of (usually) love and (in addition, in this collection) loss. Her words continue to create moments and sensations; to offer perspectives and questions with the admirable economy that characterises her writing.
Like so many of her poems Navigate by Moonlight (extract of poem quoted) illustrates the apparent simplicity that conceals the real complexity of her poems. As in ‘Guilt is Quiet’ she relies on the weight of everyday words, such as ‘guilt’ and ‘last’. This kind of saying without saying leaves the reader’s mind free to participate in the poem – which, though one of the joys of reading poetry – is far from easy for a poet to manage. ¬ She pares down her poems, relies on short (often monosyllabic) words that quietly lend her work surprising force. The otiose adjectives and adverbs that so often weigh down poems are largely absent from Carney Hulme’s work; she’s a writer whose work is disciplined, never self-indulgent.
One of her important themes in this new collection is the impossibility of arresting the processes of time. This has been a primary preoccupation of poets for centuries, but she invests it with a freshness that convinces: the future, with its questionable details, leans over her shoulder, but lightly, disturbingly, without fuss; she makes this well-trodden poetic preoccupation her own almost by stealth.
She manages her (usually) light-hearted landscape deftly, with carefully selected signals – and not too many of them. This, too, leaves the reader free to appropriate, to explore further. And it’s clear that she trusts her reader: she knows it takes two to make a poem work.
Though serious, The Stone Messenger is by no means a gloomy collection; there’s too much energy in the poems for that. This collection, like her others, covers a lot of human experience without fuss, enjoyably and efficiently. Though there is the same clarity, the same grateful accessibility, the same economical craftsmanship that readers have come to expect from Carney Hulme, The Stone Messenger speaks with a new authority and assurance, the product of a truly original and increasingly experienced talent.’ R V Bailey
Eileen is delighted to finish the poetry year on a high with the recent announcement that her poem, Blue Hour, has been chosen as part of the UK Solstice Shorts Festival project, DUSK. It will be performed by actors in two locations, Ellon and Inverness and live-streamed on December 21st, as dusk falls across the country.
Poems will be published next year in various poetry magazines including the new and exciting Arfur from Hedgehog Press.
On that happy and positive note, warm wishes for 2018 to anyone who takes time to stop by the website.

July 2017
Breaking News

Eileen is delighted to share in full a new review of her third poetry collection, The Stone Messenger, which has just been published in the superb poetry journal Envoi, almost two years after the book first hit the shelves.

The Stone Messenger is the third collection of poetry by Eileen Carney Hulme, a poet with a distinctive and unmistakable voice. The collection focuses on loss, particularly the loss of her parents, and in a broader arena, the impact of war in a series of poems set in Sarajevo. Underlying these themes, however, is a recurrent evocation of our relation to the physical world, which while temporary and subject to change offers also beauty, joy and the possibility of transformation. One of Hulme’s strengths is her celebration of everyday life, our bitter sweet existence, in imagery, sometimes elemental, sometimes domestic, and deployed in leitmotifs throughout the collection: skies and sea, bones and buttons, coffee and conversation, clouds and the colour blue.

Running through her work too, and perhaps easily overlooked, is a gentle humour which offsets some of the difficult aspects of life which she does not shrink from addressing. An example of this is to be found in Closer than Breathing, relating a chance encounter with a man on the bus to Findhorn speaking of where eternity is to be found and another is the iteration of “dobro” in Scotland to Sarajevo:

…I know little
of the language, I know dobro
means good, a useful word –
the weather is dobro
the food is dobro
the people are dobro

Overall, the blending of the sensuous aspects of life with an elegiac awareness is subtly and poignantly realised:

Today I walk
the Findhorn Road,
word-ghosts trip me up
cloud-fall trails
like an afterlife…
this is the last road I walk. (Things I Never Said)

She writes with enviable clarity and directness. Sometimes it is the ordinary word that suffices without further need for embellishment. To write with apparent simplicity, paradoxically, requires a high degree of technical skill and this she has. She can be arresting and eminently quotable, as in this aphorism which encapsulates the Stone Messenger to a large degree: Nothing/prepares you for/not letting go.” What is evident in all her work, and what further reinforces her skill in crafting poems, is a pronounced lyrical quality which goes further than speech. Many of the poems gathered here are closer to song in effect and logic. I think this is why Hulme’s poems have such a strong emotional resonance. This lyric impulse arises again and again in the collection:

My father’s heart
cannot be found.
Its shadow can be seen
in the eyes of startled trout…
My father’s heart cannot be found
I hold it lightly in my palm. (Leaving the Funeral Home in Enniskillen)

In this way, Hulme’s work is a constant pleasure for eye and ear, a lyrical poet in the most fundamental sense of the term

Reviewed by David Mark Williams, more info here.



June 2017
A message from Eileen

To anyone who stops by for a look around the website, I thank you most sincerely.

2017 is turning into a year of reflection rather than action. Poetry continues in small ways, reading, writing, publication in poetry magazines, the odd workshop but a stepping back from readings. This in part has come about due to a lack of reading opportunities in the local and surrounding areas. It has long been discussed by me and fellow poets that it is difficult to organise regular readings in a relatively rural area due to a lack of venues keen to support poetry and also the sense of constantly relying on a small number of poetry enthusiasts to attend such events. After many years of successfully working hard to secure opportunities for myself and others to connect and read work within reasonable travelling distance I am taking a little sabbatical and allowing poetry to take me where it pleases.

Please do take the opportunity to have a look around the website where I have shared 10 years of news and successes. You can also find information about my books and read some wonderful reviews and a selection of my poems.

Sending good wishes out to all
Eileen