"Now We Can Talk Openly About Men" is made up of dramatic monologues, in two parts, the first at the time of the Irish War of Independence, the second at the time of the Civil War. Martina Evans uses two distinct narrative voices. First comes Mrs Kat...

"A few months ago? the novelty mug frightened us all by spontaneously bursting into Viva Las Vegas and I took that? as a sign, did what any? Catholic would do – put up a shrine". from Burnfort, Las Vegas "The Windows of Graceland" gathers the cream...

Martina Evans's fifth collection moves from the impact of American culture and rock'n'roll in the 1960s on her home town, a small Catholic community in rural Ireland, to life in contemporary London. Her poems spring from memories, anecdotes of local...

"Imelda thinks she's killed her mother by wishing she was dead. Haunted, she doesn't want to wish the same fate on Justin, her mercurial and controlling twice-widowed father, owner of McConnell's bar and shop. When Imelda's two older sisters, Bertha...

The opening poems of the Cork-born writer's fourth collection draw on stories from her Irish childhood, tales of the impact of the Black and Tans on her family's locality in the 1920s. The heady brew of Irish politics and religion is close to the sur...

Martina Evans's third collection of poems begins and ends in the dentist's chair. In between come stories ranging from an Irish childhood to present-day London, featuring voices from the poet's own to those of her family, her cat, and a supporting ca...

Martina Evans's new collection mines the rich seam running between rural Ireland and urban England, between personal and folk memory, and between fiction and reality. These are poems that simultaneously engage with the real world, while keeping a lin...