Self-portrait as Bartlett pear

Pausing
I consider
me fat
slightly
disfigured
heavy-hipped
and the pear, its honey
juice scenting all fingers.
An early child, my parents found
me awkward. I know a fruit now
can be the size of the world, and self-sufficient
without self-doubt, memory milks petals
the first to appear on the trees, blossom
filling the orchard with light.

by L. Kiew

‘Self-portrait as Bartlett pear’ is copyright © L. Kiew, 2023, and is reprinted here from More than Weeds (Nine Arches Press, 2023) by permission of Nine Arches Press. You can read more about the book on the Nine Arches website.

More Than Weeds, the debut poetry collection by L. Kiew, explores the language of migration and how it is used in relation to plant and animal species, as well as peoples. These knowledgeable and verdant poems draw deeply on botanical and ecological detail and reveal secret histories thriving in the gaps between definitions; here are precious seedlings, unforced flowers, tongues of leaves, tangled roots and rhizomes.

With roots in decolonialising botany and horticulture movements, and influenced by the impact of the climate crisis and regenerative gardening practices, Kiew’s poetry is alive and thronging with the interconnected nature of things – and the formative forces of nurture, family, food, refuge and love. Human and plant voices speak for themselves of experiences of belonging and displacement, as well as encounters with violence. These vivid poems that ask us to scrutinise what is really contained or constrained by demarcations – whether those of weed or wildflower, or of borders and hostile environments.

A chinese-malaysian living in London, L Kiew earns her living as a charity sector leader and an accountant. She holds a MSc in Creative Writing and Literary Studies from Edinburgh University. Her pamphlet The Unquiet was published by Offord Road Books in 2019. Her debut collection, More than Weeds, came out in February 2023 with Nine Arches Press.

You can find more about L. Kiew on their website and follow them on Instagram and Twitter

Praise for More Than Weeds:

“L Kiew’s poems are inventive and iridescent. More than Weeds navigates ecology, migration and identity with a subtle and complex skill. Animated, strange, acutely-observed, the world in these poems is given an arresting voice.” – Seán Hewitt

“L.Kiew’s radically sensuous debut speaks from the wet earth up. Charting the aftermaths of past empires, inner city and rainforest habitats are interwoven through an ecology of tender co-nurture. Intimate with food insecurity and climate threat, fierce poems stand with migrants fleeing where “the logger’s axe made ghosts of us”. Sharing the “lemony silence” of transplanted knotweed, and the “treelace” of harvested latex, More than Weeds gives us new eyes through which to know our world.” – alice hiller

“Poems in More than Weeds grow, shapeshift and inhabit different spaces of language, emotions, and imagination. There are poems about the family, journey, and love – they crawl and dash off the page, alive and surprising like rabbits glutting grass banks by Inverness station. There are also poems that stay and endure, rewilding themselves into the psyche, like seed heads exploding afternoon showers. A beautiful and resonant collection.” – Romalyn Ante

Nine Arches Press was founded in 2008 and emerged from an awareness of the national literary landscape and a desire to provide a platform for new and emerging poets. Our titles have been widely acclaimed and shortlisted for national prizes including the Michael Marks Poetry Pamphlet prize, the Forward Prizes, TS Eliot Poetry Prize, the Ted Hughes Award, the Michael Murphy Prize, the Jhalak Prize, and the Polari Prize. Nine Arches has published over 120 poetry publications, and 29 issues of Under the Radar magazine, and provides a year-round programme of workshops, events, as well as priding themselves as publisher that uniquely provides writer development and mentoring. Nine Arches Press is an Arts Council England National Portfolio Organisation, and its Director / Editor is Jane Commane. Read more about the press on the Nine Arches website, and follow Nine Arches on FacebookTwitter and Instagram.

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

Of the shortest day

What has survived is the belief
that water tastes best today;
the moon offers help through the dark. 

What has survived is the memory,
pullut-rice rolled between palms,
ballcakes in pandan-ginger syrup.

What has survived is the custom,
serving girls even pairs,
adding strength to their futures.

What has survived is the altar,
table lit by red candles,
joss paper burning in the iron pot.

What has survived is together
tasted on the tongue
as ancestors’ faces fade in frames.

by L. Kiew


This week we feature the last of three poems by poets who have appeared in the exciting online festival Poetics of Home – a Chinese Diaspora Poetry Festival which concludes tomorrow (5 October). The festival is co-ordinated by our Brookes colleague Dr Jennifer Wong, and is designed to connect and showcase the diverse works by established and emerging Anglophone poets writing across the Chinese diaspora. The final event, entitled ‘Women Who Write’, features Belle Ling, Tammy Ho, Cynthia Miller, and the Poetry Centre’s own Claire Cox. It is moderated by Jennifer Wong and takes place tomorrow (Tuesday 5 October), from 1-3pm BST. Although tickets are no longer available via Eventbrite, you can contact the organisers for more details of the Zoom link by visiting the Poetics of Home site.The festival is presented in collaboration with Wasafiri and the Institute of English Studies, with the support of the Lottery Fund from Arts Council England. For more details about the festival and to sign up for the events, visit the festival website.

‘Of the shortest day’ is copyright © L. Kiew, 2021. The poem first appeared in The Rialto, issue 95.L. Kiew is a Chinese-Malaysian living in London. She earns her living as an accountant. She holds a MSc in Creative Writing and Literary Studies from Edinburgh University. In 2017, L. Kiew took part in the Poetry School/London Parks and Gardens Trusts Mixed Borders Poets Residency Scheme and the Toast Poetry mentoring programme. She was shortlisted for the 2017 Primers mentoring and publication scheme and was a 2019/20 participant in the London Library Emerging Writers Programme.Her poems have been published in Butcher’s DogInk Sweat and TearsLighthouseObsessed with PipeworkTears in the FenceThe Scores and The North among other magazines and websites.L. Kiew’s collaboration with Michael Weston is included in Battalion, available from Sidekick Books. Her debut pamphlet The Unquiet was published by Offord Road Books in 2019. Find out more about L. Kiew’s work from her website and follow her on Twitter.Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

December began with shopping

for the exotic: mint and apple sauce,
imported rosemary, cranberries, candied
peel and blocks of English butter.

It began with baking, the Christmas cake
drenched daily with dark brandy
until it oozed from the lightest finger-flick

and emptying jar after jar
of Robertson’s mincemeat into pastry.
Cinnamon gold-dusted everything.

After the final Advent window,
we opened all our doors,
welcoming hungry occupants, their cars

filling up the driveway, aunts and uncles,
cousins in greater and lesser iterations,
the generations dressed in batik, bearing gifts.

The kitchen was ever at the heart of it.
My parents cooked together.
Crackling, perfection an inch thick

on the side of pig that Dad roasted
while Mum beatified the oven-pan,
red wine gravy, bliss of roux.

Cheerful, family sat where we could,
plates heavy in heady heat, heaped
meat, golden potatoes, peas, carrots too.

Our hands were full. Still there was more,
glasses, cups, Anchor beer and Sunkist,
hot kopi, Cointreau, joyful chatter,

mince pies with cream, walnuts
to crack and chocolates to unwrap.
Dad asked again, again and

again if we’d enough to eat
until decidedly replete, my extended family
levered to their feet, departed noisily.

Day cooled to a close. Dusk drifted quiet
through rooms to settle on stacks
of washing up glinting in the sink.

It was always good, that stillness,
sky kissed with flecks of light,
night unbuttoning its mysteries.

by L. Kiew


‘December began with shopping’ is copyright © L. Kiew, 2019. It is reprinted from Christmas Spirit: Ten Poems to Warm the Heart (Candlestick Press, 2019) by permission of Candlestick. You can read more about the pamphlet here.

L. Kiew lives in London and is of Chinese-Malaysian descent. She works as an accountant but finds time for poetry and her work has been widely published in magazines including The Scores and The North. Her debut pamphlet The Unquiet was published by Offord Road Books in 2019. Find out more about her work on her website and follow her on Twitter.

Candlestick is a small, independent press based in Nottingham and has been publishing its sumptuous ‘instead of a card’ poetry pamphlets since 2008. Subjects range from Birds and Cricket to Tea, Kindness, Home and Puddings. Candlestick Press titles are stocked by chain and independent bookshops, as well as by galleries, museums and garden centres. They can also be ordered online at  Candlestick’s website where you can find out more about the full range of titles. You can follow Candlestick on TwitterFacebook, and Instagram. In 2018 Candlestick sold over 75,000 pamphlets.

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.