
‘Impressive, ingenious and affecting' poem about missing an absent son wins National Poetry Competition
Fiona Larkin's poem, Absence has a grammar, was picked from nearly 22,000 entries.
'It feels a bit like a lottery win, because the odds are so high,' said Larkin. When she got the call with the news, she felt both a 'sense of disbelief' and 'weirdly buoyant – that floating sense of something happening'.
After her son moved to Brisbane, Larkin had been 'really taken aback' by how much she missed him. 'I rarely write about my children, I think they've maybe got one poem each now,' said Larkin. Her son hadn't read the poem until Larkin found out she'd won the competition. 'He's delighted for me. I reckon he's probably a little bit embarrassed as well.'
The poem incorporates the Finnish language, which Larkin had begun reading about before going to Helsinki last summer, around the time that her son moved. Her poem plays with the abessive case, which is used to express absence and involves adding the suffix -tta or -ttä on to nouns. 'I'm really interested in the way knowledge of other languages shines a light on English,' she said.
Larkin's debut collection, Rope of Sand, was published in 2023. She has also published two pamphlets, Vital Capacity and A Dovetail of Breath. Winning the competition 'will give me more confidence with my writing going forward in terms of experimenting and trying out new things'. She is working on a second collection.
All the poems were read anonymously by a judging panel comprising Romalyn Ante, John McAuliffe and Stephen Sexton, who described the winning poem as 'very impressive, ingenious and affecting'.
Matt Barnard was named as the runner-up, winning £2,000, while third place went to Sorrel Briggs, who receives £1,000. The top three poems will be published in the spring 2025 issue of the Poetry Society's journal, The Poetry Review.
Seven commended poets, winning £500 each, are Yong-Yu Huang, Lee Knapper, Hannah Perrin King, Lesley Sharpe, Chris Beckett, Kit Buchan and Andrew Dennison.
Past winners of the competition include Carol Ann Duffy, Sinéad Morrissey, James Berry and Tony Harrison. Last year, Imogen Wade won the award for a poem inspired by her experience being mugged in New York. The competition will next open in June.
I am learning to use the abessive
case as if I were Finnish,
to indicate that what I miss
is so much a part of me
that its loss is structural.
Sign up to Bookmarks
Discover new books and learn more about your favourite authors with our expert reviews, interviews and news stories. Literary delights delivered direct to you
after newsletter promotion
The suffix -tta turns a word
into a shadow of itself.
Emptied of substance,
light blows through it.
I think of moonshine,
of a bottle of Koskenkorva,
the Finns' national liquor,
renamed Koskenkorvattawhen there's none left.Koskenkorvatta, I howl.
Itkin syyttä means
'I cried without reason,'
but when a child is away
there is reason enough.
Tonight itkin syyttä.
If I join -tta to son
it impels me to write this –
not a sonata, nor sonnet,
but still, of course,
a little song of longing.
With thanks to Diego Marani for Koskenkorvatta.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Daily Mirror
7 minutes ago
- Daily Mirror
Pokemon fans are just realising they've been saying legendary monster's name wrong
There are now over 1,000 creatures in the Pokémon franchise, and it turns out most fans have been pronouncing one of the most popular ones incorrectly for 23 years Pokémon is one of the most beloved franchises in gaming. Since 1996, around 122 games have been released, including 38 mainline titles, amounting to over 489 million units sold worldwide. These games are split into nine generations, with each one introducing more and more Pokémon. While the initial release included just 151 creatures, the total is now at 1,025. With so many Pokémon for fans to remember, it's no wonder some of them might get forgotten or mispronounced, as people aren't as familiar with them. But it turns out one monster we've all been pronouncing wrong for years is one of the most popular Pokémon out there - and it was released 23 years ago. In a video shared by Game Central on TikTok, it was claimed the Pokémon Company confirmed that most of us, especially those in the UK, have likely been pronouncing the name of the Legendary Pokémon from 2002, Rayquaza, completely incorrectly all this time. Rayquaza is a large, green, serpentine Pokémon that served as the mascot for Pokémon Emerald. In an English accent, the most common pronunciation is "Ray-quar-zah" - but we've now been told that's not right. Instead, the Pokémon should be pronounced as "Ray-quay-zuh". This is something that our neighbours in the US may have been doing already, but it often sounds jarring to Brits. Rayquaza is pronounced this way because the end of its name is supposed to derive from the word "quasar," which is the term for a luminous galactic core powered by a supermassive black hole. Quasars are known to be the brightest objects in the universe, and Rayquaza is quite literally a cosmic dragon, which would make the space connection make sense. The official X account for Pokémon also confirmed this pronunciation in a post earlier this month, boldly stating in no uncertain terms that the creature should be pronounced "Ray-KWAY-zuh." Commenters on the Game Central video were baffled by the news, as many said they'd been pronouncing it the incorrect way ever since the Pokemon was released back in 2002. One person said: "I know the pronunciation. I just refuse to use it." Another added: "The person who made the GIF says it's pronounced JIF. Sometimes the creators are wrong." While a third agreed, writing: "Pokémon itself can be wrong. Remember, the creator of .gif files says his own creation incorrectly." Others pointed out that Rayquaza isn't the only Pokémon people have been mispronouncing. They claimed that the 2009 Legendary Pokémon, Arceus, should be pronounced as "Ar-kee-us," although most people would assume it should be said as "Ar-see-us."


Scotsman
9 minutes ago
- Scotsman
Dandadan season 2: what time is episode 8 out? Explained
Dandadan season 2 will continue this week and the Netflix release time has been confirmed 👽👻 Sign up to our Arts and Culture newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Dan Da Dan will be back with a new episode this week. Netflix and Crunchyroll are both releasing season 2. But what time can you expect the next instalment? A brand new episode of Dan Da Dan will soon be waiting for you to devour. The second series of the hit anime is continuing on both Netflix and Crunchyroll. The story of Okarun and Momo will pick up again this week as the back-half of the season builds momentum. It comes after the first three episodes were bundled together and released in cinemas earlier in the summer. Advertisement Hide Ad Advertisement Hide Ad For those who were able to watch Dan Da Dan: Evil Eye on the big screen, the show has since caught up and passed the ending of that movie. But when can you expect the latest episode? Where can you watch Dandadan season 2? DanDaDan season two is continuing on Netflix | Crunchyroll Once again, Netflix and Crunchyroll are both sharing coverage of Dan Da Dan season two. No matter which of the streaming services you are subscribed to, you will be able to watch new episodes from the anime each week. The first season and the six episodes of series 2 released so far are available on both platforms. Advertisement Hide Ad Advertisement Hide Ad What time is Dandadan season 2 episode 8 out? The eighth episode of Dan Da Dan's second season will once again be released on Thursday (August 21). This schedule will continue throughout the coming weeks. Dandadan will have 12 episodes in total - the same length of season one. The previous episodes are already available to watch on Netflix and Crunchyroll. Fans can expect new episodes to run through to late September - baring any changes to the schedule. So the season finale will arrive just as the leaves are starting to change and Halloween will be just on the horizon. Dan Da Dan season two episode eight is due to land on streaming platforms, including Netflix, at 5pm BST for UK audiences - Noon ET/ 9am PT for viewers in America. Advertisement Hide Ad Advertisement Hide Ad Who is in the cast of Dan Da Dan season 2? Momo Ayase - Shion Wakayama (Japanese), Abby Trott (English) Ken Takakura (Okarun) - Natsuki Hanae (Japanese), A.J. Beckles (English) Seiko Ayase - Nana Mizuki (Japanese), Kari Wahlgren (English) Aira Shiratori - Ayane Sakura (Japanese), Lisa Reimold (English) Jin Enjoji - Kaito Ishikawa (Japanese), Aleks Le (English) Turbo Granny - Mayumi Tanaka (Japanese), Barbara Goodson (English) The cast features plenty of familiar voices, Shion Wakayama is Yunli in Honkai: Star Rail as well as Ellen Joe in Zenless Zone Zero. Natsuki Hanae is the Japanese voice of Tanjiro in Demon Slayer. He has also had roles in Tokyo Ghoul, Food Wars, Haikyu!! and more. Abby Trott is the voice of Nezuko in the English dub of Demon Slayer - so a few links to the famous anime in this show. She is also Shizuka Mikazuki in Zom 100: Bucket List of the Dead.


Scotsman
2 hours ago
- Scotsman
Edinburgh International Book Festival: The future of creativity in the age of AI
The Edinburgh International Book Festival is an event that aims to 'celebrate and share the power of writers, their ideas, and the words they craft'. The festival welcomes hundreds of world-renowned authors, journalists, scientists, and artists to the Scottish capital for just over two weeks every August. This year there was one question on everyone's minds: what is the future of creativity in the age of AI? Sign up to our Arts and Culture newsletter, get the latest news and reviews from our specialist arts writers Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Each year the Edinburgh International Book Festival works around a central theme. This year it was Repair. The festival's CEO and Director Jenny Niven explains how this theme 'starts from the belief that the brilliant ideas of writers and thinkers can help us repair a host of seemingly 'broken' things in our society'. Alongside this, however, I began to sense another common theme at play: AI. Artificial Intelligence, or AI for short, has been expanding and infiltrating many aspects of our lives. Author and translator Annelise Finegan likened it to mercury, the liquid element that seeps and spreads uncontrollably when spilt. Advertisement Hide Ad Advertisement Hide Ad As a university student, I am all too aware of the lightning fast speed at which AI has become part of our day-to-day lives. Emails from my department inform me of the dos and don'ts of using AI in academic practice, but how they would they know if we used it I am unsure. And this gets to the heart of why it is so terrifying; it works by imitating our language, our voices, our art. Elena Ferrante's 'My Brilliant Friend' series has been translated into English by Ann Goldstein. The very first event I attended at the Book Festival this year raised the question of AI's role in the creative industries. This was an event with our much-loved Poet Laureate Simon Armitage. Armitage was invited to discuss and read from his new poetry collection Dwell. This pocket-sized book is designed to illuminate the natural world around us, encouraging readers to 'dwell' in the feelings that nature inspires in us. Yet, despite the ecological focus of the event, the topic of AI quickly became unavoidable. An audience question led the poet to admit that AI could produce a very Armitage-like poem about a dog and, worse still, it was a pretty decent one. I am sure Armitage is not the only creative curious enough to test the generative powers of AI, and that he is not alone in finding the result of this research to be so horrifying. I could sense anxiety in the audience's silence as we contemplated AI's very real threat to humans in the creative industries. Advertisement Hide Ad Advertisement Hide Ad The anxiety is one that grips many of us in Arts and Humanities-based careers. Despite this, I would like to remind readers that there is still hope; the word humanities stems from the noun 'human' after all. This hope is made apparent through the work of literary translators. Decorations inside the Edinburgh Future's Institute. In a fascinating conversation between Jen Calleja and Annelise Finegan, two International Booker nominated translators, both advocated for the uniquely human touch required for the delicate art of literary translation. While AI may be able to translate word-for-word what the original text says, it does not yet possess the capability of translating voices and culture. As I learned from this event, literary translation requires the translator to read the text several times in its original language to build a sense of the voice behind it. Even if they used AI to produce a 'first draft' of the translated work they would risk losing this sense of voice; it would be like building a house on a bad foundation. Literary translation is about movement, not just from one language to another, but from one culture to another culture. How is AI meant to replicate this if it has not experienced the depth and variety of human cultures? To say that AI will not play some part in the future of creative industries would be a delusion, however tempting it might be to believe it. Yet, I am reluctant to accept that it will ever replace the need for real humans in the industry. Advertisement Hide Ad Advertisement Hide Ad I would also argue that a huge aspect of art is the motivation behind it. AI simply does not have the same motivation as any real person trying to convey a distinctly human emotion. In an increasingly digital world, we need these connections to our own and other people's emotions more than ever.