The poems in The Oligarch Loses His Patience explore what poet Gwyneth Lewis referred to as ‘the dark side of regard’ – the effect of nurture on nature, of loss, the underlying drama of power and control, of fear, violence and death – present under the civilised veneer of daily life; the flipside of love in all its guises.
The Oligarch Loses His Patience won the inaugural Ruskin Poetry Prize and appeared in Poem Vol 3 no. 1, March 2015.
Longbarrow was published in the anthology Hallelujah for 50-Foot Woman, Bloodaxe 2015
Homing appeared in Magma 60 (2015)
We Are Part Star appeared in the Island Review, (2013)
L’Autrichienne won second prize in the Philip Larkin/Bridlington Poetry prize in 2014 (and appears on the website)
perspective was a runner up in the Bridport Prize and appears in the anthology (2006)
Leaving Amsterdam won third prize in the Arvon competition (2006) and appears in the Arvon International Poetry Anthology
Brood was a runner up in the troubadour Café Poets competition (in 2013) and has been published in Measure Press
Alakazam won the Bridport Prize (in 2012)
Reviews:
On individual poems — Alakazam, Bridport Prize winner 2012
‘Alakazam’ stood out as a winner from my first reading. Here is a poet who is confident enough to pull off a conjuring trick, with the necessary delight for the reader. The poem is a description of love but, if that sounds mushy, you’re in for a series of surprises.‘ – Gwyneth Lewis
On L’Autrichienne, 2nd prize East Riding/Philip Larkin 2013 –
‘A masterly semi-formal sonnet …gets the second prize for its brilliant vivid and intimate portrayal of Marie Antoinette before the Révolution française, every image quietly prophesying the horrors to come.‘ – Don Paterson
On The Oligarch Loses His Patience, winner, Ruskin Prize 2014
‘My congratulations to Ms Daventry who offers a rich and rare narrative landscape in her poem. There is something compelling about the specificity of the items that chain-link the poem: artefacts that translate as tokens. The Oligarch Loses His Patience is outstanding.’ – David Harsent
‘A lot of folk have been saying this seemed to be a particularly special year at StAnza. I’m not given to hyperbole, but I think it really was. I wasn’t able to go to everything (much was sold out), but standouts for me (that is, the peaks among the general high ranges) include Kei Miller‘s reading (and general presence at the festival), Claudia Daventry and Ian Duhig‘s remarkable, at times laugh-aloud, consummately turned and pitched performances in ottava rima from the Don Juan updated anthology…‘ Gerry Cambridge
 | C M DaventryClaudia Daventry studied languages then lived in several European cities as a professional writer, translator (and performance poet) before moving from Amsterdam to St Andrews, where she now lives and writes. Her work has appeared in various anthologies and other publications and she has received a number of accolades. At the time of going to press she is writing up a PhD on poetic translation. For erratic updates follow @cdaventry on Twitter. |