Shortlisted for the T.S. Eliot Prize 2024
The Penny Dropping offers an account of a cherished relationship from first meeting to eventual break-up. Distance gives the writer a retrospective clarity from which she does not flinch despite its challenges (‘Look at me,’ laments the speaker in ‘Pretty Woman’, ‘stepping back into the dress, / pulling up the side zip, smoothing it down, / as though that’s all it took.’).
But ultimately poems such as ‘No Point Now’ undo their own argument that the penny has dropped years too late, for the process of re-evaluating the past bestows on it a new and altered value. In ‘Films We Saw at The Phoenix’, the speaker recalls the lovers in one film whose relationship is also at an end, but who look back and ‘spread it out tenderly, the tapestry / of their love which they alone could see'. The immediate power of these poems is such that much is at stake on every page.
Helen Farish’s debut collection Intimates (Cape, 2005), a Poetry Book Society Recommendation, won the Forward Prize for Best First Collection and was shortlisted for the T.S. Eliot Prize.
'Helen Farish’s The Penny Dropping is an unflinching and gripping account of the arc and aftermath of a failed relationship. Taking its epigraph from The Waste Land, ‘Shall I at least set my lands in order?’, it is also a virtuosic interrogation of the relationship between lyric and narrative time. Rather than shaping 52 short poems into one long elegiac sequence, Farish keeps alive the immediacy of the vanished present by meticulous relocation of ‘you’ and ‘I’ in space and time. Beginning in Morocco in the 1980s (‘the air in Essaouira / glassine on the first day of spring; harira’) and ending with the relationship’s enduring prompts in the present (‘Pasta alla Gorgonzola; / every wedding I’ve ever been to…’), The Penny Dropping is the best love poem anyone has written in years.' –TS Eliot Prize 2024 Judges
‘Memory is fragile. As we cultivate and reinforce it, we create a myth which interacts with the details of daily life, transforming it into one huge shrine. The candour and courage of The Penny Dropping should not be underestimated. This is confessional poetry of the highest order.’ – John Field, TS Eliot Prize reviewer
‘The fifty-two lyric poems that comprise Farish’s fourth collection of poems showcase her virtuosity in this form. They chart the history of a relationship from first meeting to ultimate dissolution and painful aftermath. The narrator – and there is something almost novelistic about her recollections – looks back, in each poem, from the present, although Farish is at pains to impress on the reader how insecure a vantage point this is. […] a considerable, harrowing achievement.' – Phoebe Walker, The Times Literary Supplement
‘I savoured Helen Farish’s tracing of the break-up over time of a loved relationship in The Penny Dropping. Each of the intimate, single-stanza poems acts as a window in this gripping, elegantly achieved, and ultimately very poignant book.’ – Moniza Alvi, The Poetry Society (Books of the Year)
‘In speaking to the ghost of love through the language of immediacy, Farish resurrects the past for a moment, then lets it go.’ – Sylvie Jane Lewis, TS Eliot Prize Young Critic, on The Penny Dropping
The Penny Dropping, Helen Farish’s fourth collection, comprises sixty-seven poems, each written in the first person. It tells the story of a significant relationship from thirty years ago – a relationship which, despite its eventual breakdown, is recalled without bitterness. Instead, there’s a complex mix of emotions – love, passion, tenderness and gratitude, as well as heartache, guilt, regret and much besides. She goes deep, and this review can’t do justice to the subtlety of feeling that reveals itself over several readings. It’s a very personal story but it makes universal connections. On the surface the poems read straightforwardly. There’s a fluidity and elegance to the writing that carries you along so easily you don’t notice how good it is. [...] "The true subject of poetry is the loss of the beloved," said Faiz Ahmed Faiz. It’s a good and true subject for Helen Farish too. She handles it beautifully.' – Annie Fisher, The Friday Poem
‘I’d strongly recommend Helen Farish’s wonderful new narrative-driven collection, The Penny Dropping. These often exquisitely lyrical poems are intimate and personal, tracing the course of a close relationship and holding your attention throughout.’ – Will Mackie, New & Recent Poetry from the North: Summer 2024
'This themed book reflects upon a past love affair, taking us from inception to end, and what comes next. There is regret, rueful anger, a sense of loss and longing, together with a genuine feeling of tender gratitude for having experienced so intense a relationship in all its moods. What is fascinating is that these poems show such energy and luminosity from emotions first felt over 30 years ago [...] A remarkable collection from an excellent poet.' – David Harmer, Orbis, on The Penny Dropping
'The Penny Dropping, Helen Farish’s verse-sequence about a love relationship, could be called a page-turner if it weren’t for the fact that every page is a lyric poem of such compulsion that it unfailingly and hauntingly detains the reader’s attention. As a whole, it has all the coherence of a novel; but there is so much more to this beautifully realised lyric collection of the kind that she is a recognised master of. It is a masterpiece in both forms to a very unusual degree.' – Bernard O'Donoghue
Helen Farish is the author of four books of poems, Intimates (Cape, 2005), Nocturnes at Nohant: The Decade of Chopin and Sand (Bloodaxe Books, 2012), The Dog of Memory (Bloodaxe Books, 2016) and The Penny Dropping (Bloodaxe Books, 2024). Intimates, a Poetry Book Society Recommendation, won the Forward Prize for Best First Collection and was shortlisted for the T.S. Eliot Prize. The Dog of Memory was shortlisted for the Lakeland Book of the Year 2017. The Penny Dropping was shortlisted for the T.S. Eliot Prize 2024. Helen Farish was also a Writer of the Year Finalist in the Cumbria Life Culture Awards 2017.
Her poetry has been included in The Poetry Pharmacy (Penguin, 2017) and The Poetry Pharmacy Forever (Penguin, 2023), as well as in three Forward anthologies, including Poems of the Decade, in Being Alive (Bloodaxe Books, 2004), and two Candlestick Press publications. Regularly published in the TLS, her work has also been published in The Spectator, The London Review of Books, The Guardian, Poetry Review, London Magazine and Poetry London.
In 2004-05, she was Poet-in-Residence at the Wordsworth Trust, Grasmere, and she has been a recipient of a Hawthornden Fellowship. In 2024, she was Poet-in-Residence at Cycladic Arts (Greece). Her work has been performed by Helena Bonham-Carter, and the pianist Sarah Gait accompanied performances of poems from her Nocturnes at Nohant: The Decade of Chopin and Sand for BBC Radio 3's The Verb.
She completed an MA in Humanities at Oxford Brookes University and was awarded a Studentship to pursue a PhD thesis on the poetry of Louise Glück and Sharon Olds. She spent six months researching 20th-century American women's poetry and feminist theory at the University of New Hampshire and has also been a visiting lecturer at Sewanee University, Tennessee. She taught American Literature and Creative Writing at the universities of Sheffield Hallam (where she was director of the MA in Writing) and Lancaster (where she taught undergraduates, postgraduates and research students). She is now a Poetry School tutor for the North West. After many years elsewhere, she now lives in Cumbria where she was born and grew up.
