Review
Books
Culture
Joy
Poetry
5 min read

Theresa Lola's poetical hope

The death-haunted yet lyrical, joyful and moving poet for a new generation.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A poet stands and speaks, raising an arm.
Theresa Lola performs at Kings Place.
Cosmic Shambles Network.

There are poems such as T.S. Eliot's ‘Journey of the Magi’ and U.A. Fanthorpe's ‘BC – AD’ which have become staples of Christmas Carol services. Last Christmas, for the first time, I used Theresa Lola's ‘Look at the Revival’ as the poem in our Carol Service that explored the experience of the Magi in seeking and finding Jesus.   

‘Look at the Revival’ was commissioned by National Gallery in 2020 in response to ‘The Adoration of Kings’ painting by Jan Gossaert. The poem is written in the voice of Balthazar, the Black King in the painting, and explores the painting’s themes of rupture, transformation and renewal. It ends with this reflection: 

My job often feels like a hefty stone 

But today I am powered by a fierce awe. 

  

I say to the stunned people let us look deeply 

to know this hope deeply. 

British Nigerian poet and former Young People’s Laureate for London, Lola is the British equivalent of Amanda Gorman, whose poem ‘The Hill We Climb’ made such an impact at US President Joe Biden's inauguration. Lola said after that event that “To have poetry make national headlines … was just so exciting” and to have Gorman’s poem articulate everyone’s feelings “was just the perfect example of what poetry can do”. 

There is a real art to writing poetry for public occasions where depth and immediacy need to intertwine. It is an art that Lola herself has mastered, as was demonstrated when she was commissioned by the Mayor of London’s Office to write and read a poem - ‘For Those Who Listen When Courage Calls’ - at the unveiling of Millicent Fawcett’s statue in Parliament Square. 

Lola was joint-winner in 2018 of the Brunel International African Poetry Prize and was featured in the 2019 ‘Forces for Change’ issue of British Vogue as a next generation talent. Other commissions for her work, which explores themes of self-discovery, transformation, cultural heritage, and belonging, have included Selfridges, Rimowa, Royal Festival Hall, and Audible. She is currently leading the Volunteer Interpreter Programme at Dulwich Picture Gallery where, in a programme inspired by their Soulscapes exhibition, she is exploring how poetry can be used to interpret their collection.  

“This poet speaks boldly of prayer as a call to arms for family, for love, for a survival, which as she concludes in the final poem, ‘Psalm 151’, ‘I prayed my fists into’”

S. Niroshini

Her debut poetry collection ‘In Search of Equilibrium’, which was hailed as “powerful and rigorous”, is an extraordinary, and exacting study of death and grieving. The reviews of this collection have much to say about the well springs of her work.  

In this collection, as S. Niroshini writes, she “deftly deploys form, texture, and shape to interrogate the meaning of death and the suffering of family” with poems “variously presented as computer coding, live reportage, prayers, algorithms, Wikipedia entries and hip-hop lyrics”. While its subject matter is, as Carmina Masoliver notes, “essentially natural – life and death”, the poems themselves are often experimental and “bring in cultural elements … as well as religious allusions”. Charlie Hill explains that “This superb debut collection revolves around the death of the poet’s grandfather, whose Alzheimer’s resulted in a ‘four-year funeral’”. Laurie Smith suggests “It is rare for a debut collection by a young poet to be so death-haunted, but it is death-haunted in the same sense as [Sylvia] Plath’s ‘Ariel’ and [Anne] Sexton’s ‘To Bedlam and Part Way Back’.” He writes that “The comparison isn’t fanciful” as “Lola’s writing has a similar vividness and strength”. 

Masoliver notes that “The collection is book-ended with Lola’s own prayer and psalm”. “From the first,” she suggests, “there is an expression of doubt about the poet’s faith, though holding onto it ‘even when I fear God might be a thin shadow’”. Yet, “By the time we get to the final poem, there is a loss of innocence to the reality of the world around us, but a certain strength that comes with ‘fighting darkness’”. Niroshini states that “This poet speaks boldly of prayer as a call to arms for family, for love, for a survival, which as she concludes in the final poem, ‘Psalm 151’, ‘I prayed my fists into’”. 

Lola has said that “The writing of the collection was emotionally challenging as the poems touch on sensitive topics about death, faith, family and mental health.” For her, “writing poetry has been a ‘therapeutic tool’, a ‘healthy listening ear’ and a way to express her struggles, be they anxiety or … grief”. Nevertheless, she also says: “My poems always suggest and show hope no matter how gritty the subject is! I do write poems that are centred around my faith, and that hope in my faith is Jesus”. 

Many reviewers note Lola’s ability to write lines, such as ‘sweeping me off my bones’, “that stop you dead”. Hannah Williams was particularly moved by lines from ‘Blessed Are the Mothers of a Dead Child’: 

Blessed are the mothers of a dead child 

for they manage to recover 

after eating the fruit that grows 

from planting your child’s casket in the ground. 

Hill cites the final lines of the same poem: 

My grandmother tries to celebrate the brief beauty of his breath. 

She says what use is sweeping grief under the carpet 

when you can blend it to find the drop of sanity that will flow from it. 

to suggest that it is here that the equilibrium sought in the collection’s title is to be found. 

The Sunday Times Style Magazine has described Lola as being among “the ranks of an exciting new wave of young female bards who are widening the appeal of poetry for a new generation”. As a result, the imminent prospect of a second collection from her is a particularly exciting prospect. Look out later in the year, then, for ‘Ceremony for the Nameless’ which is described as exploring the act of naming and its role in shaping our identities, our aspirations, what we carry and how we belong. In lyrical, joyful and moving poems, Lola will explore the ways our journey through life might require us to cast off old expectations – both others’ and our own – just as at other times it can bring us back, strangely and unexpectedly, to where we first began.  

This returns us to Balthazar and his journey of discovery. So, as he states: “let us look deeply / to know this hope deeply.”  

Article
Community
Culture
Sustainability
Wildness
5 min read

Hedgerows are boundaries, but they don’t divide so much as abound

The lines we draw between land and lane connect us.

Elizabeth Wainwright is a writer, coach and walking guide. She's a former district councillor and has a background in international development.

A Devon lane lined by hedges.
Down in Devon.
Craig Cameron on Unsplash.

In May and June, the Devon hedgerows that hold the landscape outside my window are at their fullest, most colourful state of being. Walking the narrow lane that runs away from our house means walking between high hedgerows that rise like soft green walls either side, which really, means walking between ancient living things, because these hedgerows are old. Devon has some of the oldest hedgerows in the country, and so the world – older than the Parish churches whose towers I can see to the south, east, and west, which rise like old-growth trees out of a blanket of green fields.  

Early Bronze Age farmers had to clear woodland to make their fields, and sometimes they left strips of woodland to mark boundaries. These are our oldest hedgerows. They are often found on parish boundary lines, and can support over 2,000 species, also acting as important wildlife corridors for many of them. To roughly date a hedgerow, you count the number of species in a 30m stretch – one species equals 100 years. I have taken to counting random 30m stretches of the hedges that line the lanes near us, and have concluded that we are surrounded by hundreds, in places thousands of years of history – of braided hawthorn and blackthorn, hazel and oak, pink campion and bluebell whose bulbs hide in ancient earth banks that many of the hedgerows sit on.  

Now, in these spring hedges, hawthorn is in blossom, nettles overflow with prickly exuberance, and somewhere deep in the tangle a blackbird tunes its song. The hedges are thick with memory stitched together from centuries of hand-laying, stock-keeping, quiet watching. They are Devon’s old boundaries, but they do not divide so much as abound. Life spills from them: wrens and mice, vetch and violet, and so many more things unseen. These are not just boundaries that mark where other things like fields and roads begin and end then; they are living spaces in their own right. They are pathways for diverse life, they are structures that hold home and shelter, food and safety, they are corridors that contain history and story. They are not just edges, they are the centres of whole lives and worlds.  

Walking here one May morning, I find myself wondering about the lines we draw – between land and lane, but also between ‘us’ and ‘them’ – and whether these lines too might be porous like the hedgerows, which have lived for so long not through independence but through care and relationship.  

The hedges speak paradoxes that I am confronted with every time I go for a walk – of division and abundance, of separateness and connection, of containment and invitation. Lately, I am sitting with these and am coming to understand a threshold that the world offers me: between independence and interdependence. But the truth is I’m not very good at interdependence. I have so often retreated behind the wall of my self-sufficiency, but I am trying to pull that wall down and replace it with a porous and lifegiving hedgerow.  

We draw lines – around ourselves, and between people, nations, beliefs, social classes, politics. Sometimes these lines are for safety, sometimes for exclusion. But the hedgerows tell me that it is possible to hold a line and also to let light and life flow through it and shape it. They tell me that these lines are not end points but invitations to communion.  

In The Left Hand of Darkness, Ursula Le Guin wrote:  

“…I know people, I know towns, farms, hills and rivers and rocks, I know how the sun at sunset in autumn falls on the side of a certain plowland in the hills; but what is the sense of giving a boundary to all that, of giving it a name and ceasing to love where the name ceases to apply? What is love of one's country; is it hate of one's uncountry?”  

Le Guin’s work of science fiction is about otherness and connectedness, with different species having to learn empathy in order to collaborate and communicate. The darker the events in the book, the brighter the hope and relationship. The book feels like it was written for now, for this world.  

On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations.

In a world whose people are persecuted, othered, tired, it is easy to believe that the way of things is division and separation. But hedgerows suggest another way to live: layered, porous, complex and interconnected, creating space not just for encounter but for new life through that encounter. This is how I picture the Kingdom that Jesus speaks about and so often found solace in: a world of intermingling and ever-growing aliveness. I think Jesus would have walked with the hedgerows had he lived in Devon. I think he would have used them to speak of boundary-crossing between heaven and Earth, clean and unclean, Jew and Gentile. I think he would have pointed to them and said, see the tangled beauty of these? They are what the Kingdom is like: held and open, living and lifegiving. This is what I want our future to be too.  

As I walk these old lanes, I am deepening into my hedgerow apprenticeship. I am learning to sink my roots in, to tend boundaries with care, to make space for life. I am also finding that there is nothing in the hedgerows that speaks of self-sufficiency. These ancient, interwoven green features that have defined this landscape are here because of relationships between species. It is easy to talk about the interconnectedness of everything, it is another thing to try to live it – to live like gifts, reciprocity, community, are things that might take the weight of our time. These old hedgerows give me a foothold though – they enliven the overused but hard-to-live idea of interconnection, they show me what it looks like and that it is an approach to life that is patient, strong, sustaining, real.  

When I reach out my hand I can usually find something edible or beautiful in the hedgerow depending on the time of year: blackberry, hazel, oxeye daisy, pennywort, primrose. Yesterday, it was the cow parsley that really caught my attention: its frothing, foaming flourishing. In a few weeks it will give way to what comes next, just as it has always done, just as this world will always do. On my hedge-edged walks I am in the presence of lives so unlike mine – plants, creatures, the people who have tended and cared for these hedges through generations. I am also in the presence of relationship, and of hope.  

Now, with so many crises bearing down on the world, and with anxiety and despair blooming, it is the hedges that remind me of other, older, wiser ways to be. It is the hedges that show me how to root deep into solid ground, and how to reach out to others, and to light, which are so often the same thing. 

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