They said "Righto," an off they went. When they'd gone, Erod said to isself: "Theer's ony room fer one king ere, an Oi'm it. When Oi know weer the new un is, Oi'll have im killed."

In Subsidence, Rob Francis has explored how the area’s past has shaped not only what we see today but also its working class communities. Wot’s he gooin on abaat?!’ … A sunset seen from Bilston. Photograph: Michael Strachan/Getty Images/EyeEm They went into the ouse an Elizabeth med a cup of tay. Er told Mary that er old man, Zacharias, day believe er when er told him about th3e babby, an ee were speechless. "Ee cor spake a werd now," er said.Well, if you say so, ar suppose that's it," said Mary. "Ar cor do anythin about it, but me chap wo arf be surprised." In this poem, Bridget Minamore explores her complicated relationship with England. Minamore notices that there are things about the country that seem like home, whilst others only serve to alienate her. This ranges from exploitative consumerism to racist rhetoric that is sometimes disguised as patriotism. The poet does however have a love for her version of England; where she grew up and the people that surround her. At the end of the poem, Minamore realises that although she has a conflicting relationship with England, it is still her home. This is an all too common theme for many of us ethnically diverse Brits who struggle with our own sense of belonging. About the Author: Pete Bouncer, or "Bounce", says he is "just on the wrong side of fifty". A metal polisher by trade and born & bred in Walsall town centre, he started writing around 30 years ago for his own pleasure. "I never really thought anyone else would be interested" he tells us. He's dead wrong on that score!

If you would like to comment on these poems, or if you would like to see one of your own here at Yampy I have to admit, I don’t look thrilled here, but after receiving this trophy I was so full of adrenaline I don’t think I could have smiled! The shepherds turned to goo, an little Jesus smiled. The leader said after as it wind, an all babbies did it, but ee wor as sure as ee med out. While all this was a-gooin on, three wise kings was in a country far away lookin at stars. Suddenly, one on em put down is telescope an called: "cum eer yo lot. Oi've fun a star wot wor theer afore, and it ay arf a big un." In this heartfelt poem, Warsan Shire explores the themes of belonging, displacement, violence, and loss. The narrator shares their lived experience as an asylum seeker. Shire details the harsh realities of both what has been left behind but also the uneasiness of the present. Although frightening, the narrator makes it clear that this is still more preferable than her previous home, even if it is filled with discrimination and bigotry. The powerful use of metaphors throughout this poem creates vivid images that allow the reader to feel like they are with the narrator throughout their unsettling journey. Rob, who is a lecturer in creative and professional writing at the University of Wolverhampton began penning the poems before the 2016 Brexit referendum.Is it still cliché to say that you can read a poem and be inspired? Or is it still cliché to say that you find something like hope in language? In a time when some of us feel that we are post-hope, Claudia Rankine’s poem “Coherence in Consequence” realigns the subtle shift that determines whether the reader is in step with the poem, or at odds. About the Author: Gary lives in Woodsetton and was educated at Tudor Primary and High Arcal. He worked at Baggeridge, and is in the Crispin most Sundays, so knows of what he writes. An uplifting poem which highlights the importance of self-belief in our daily lives. Robinson’s poem is an ode to his grandma’s advice, which almost becomes a mantra for him. The poem makes subtle references to how the outside world can affect our own perception of life and self. The ‘ portable paradise’ is never specified but can be interpreted differently by each individual.

One thing to note is that, during this time, I was constantly switching between my birth name of Elinor and my preferred/pen name of Nellie. Especially with the poems and projects associated with university (where I was registered as Elinor), this can cause a bit of confusion! I now solely write, publish, and perform under the name Nellie. Mary smiled an said: "Oil spin sum wool an knit im a jumper, an is dad'll play the flute ter mek him sleep." Although amusing, the poem does contain an important message regarding the integrity of our society. Towards the end of the poem, Zephaniah reminds the reader to ‘Give Justice and Equality to All’, no matter what.

The King's name was Erod, an ee was in. "There's three kings to see yo," the soldier told im. "Oh ar?" said Erod. "Weer?" Ee ad a fit when the soldier told im "Outside." In Nova Scotia, Eliza discovers a place where ordinary things are transfigured into treasures - a red ribbon, the feel of a foal's mane, the sound of her name on someone's lips. With nothing to call her own, the wild beauty of Cape Breton is the only solace Eliza has - until another Home Child, a boy, comes to the farm and changes everything. Suddenly the sky lit up loike bonfire noight, an an angel cum. They day know owt about angels and they was that frittened they all fell on the ground. In this poem, Amina Jama explores the migrant experience in Britain, through the lens of a woman. The woman referred to in the poem, much like many immigrants in Britain, is othered. Her feelings are all deemed to be strange and unfamiliar. But as the poem unfolds, it becomes clear that many of the migrant woman’s experiences of loss, betrayal and poverty are human experiences. Another agreed an said: "It wor arf a good tune what hey sung, but I cor remember the words, con you?"

Mary looked at the presents an said: "Thank yo, they'm smashin, but Oi'll keep em till ee's bigger, if yo doh moind." The kings took off their crowns and bowed. We see this same thing throughout the poem in her use of punctuation, in her rare enjambment, in the ways she plays with allusions, and especially in the fun she has with the homonymic potential of the English language. Toward the latter two points, I will never cease to wonder at her play on the word “Cain” to indicate the potential for refinement (and, therefore, exalted status) of the darker of the two sons of Adam and Eve, as well as the expected refinement (and, therefore, salvation) of the sugar cane (and sugar cane workers) at the center of the slave trade. Wheatley revels in the ways that something can appear to have one conclusion and also another.If a reputation can be earned through the writing of half a dozen poems of real worth then Liz Berry has probably already written them, earning her place in the landscape of early 21st century British poetry. Her debut collection (containing 14 poems from the earlier chapbook The Patron Saint of Schoolgirls (tall-lighthouse, 2010) has charm, accessibility and a humour that belies the serious ways in which she exerts pressure to counter the hegemonies of language, gender, locality, even of perception. Berry is a teacher by profession and will, no doubt, have equivocal feelings about her work appearing in classrooms – but it will rapidly and rightfully find a place there. When er got there, Elizabeth was waiting at the gate an when er saw Mary er said: "Ar ay arf glad to see yo, but fancy yo cummin to see we in yor state." So they all come in, an Erod said ow noice to see em an wot cud ee do fer emn. they said they was looking fer a new king, and wondered if ee was theer.