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Posts by Carol J Forrester

A Shropshire-born poet, Carol lives in Cheshire with her husband and daughter. Her poems explore mythology, feminism, and folklore, with individual poems published by ‘Ink Sweat & Tears’, ‘Hencroft Hub’, ‘The Daily Drunk’, ‘Riverbed Review’, ‘Fieldstone Review’ and ‘Crow & Cross Keys’. Her short story A Visit From The Fortune Teller was published by Ink Pantry in 2015 and For The Love Of Jellyfish And Sharks was a Selected Finalist in the 2020 London Independent Story Prize. Her debut collection It’s All In The Blood (2019), and her following collection ‘Stone Tongued’ are both available online as well as in selected bookshops.

This is where my appetite sits – Poem

Have I got the stomach for this?
Probably not.
My gut sits in coils around my torso— squeezing
each time I draw a breath too deep.
There is a trapdoor in my throat which snaps shut,
nerves hammer home like nails,
it becomes the entrance to a fortress, rivetted with iron,
confidence turning to smoke in my mouth,
the tongue behind my teeth is charcoal crumbling.
Every word comes out broken, hissing,
someone sees an ember and crushes it beneath their foot.
I used to think I could starve the anxiety,
or it thought it could starve me.
Truth is, I will devour fear if I am hungry enough,
grimace at the taste, go back for another bite.
These eyes are so much bigger than my belly.

Searching For Cartimandua – The Lost, Celtic Queen

I love a history podcast. Especially ones by historians deterimed to write women back into history. ‘Natalie Haynes Stands Up for the Classics’ has an episode titled ‘Roman British Women: Claudia Severa’, where she tried to do just this. The episode is twenty-seven minutes long, and one of those women is (besides Claudia Severa) is Cartimandua, the Celtic Queen. It’s a tiny segment, in a short podcast. Enough to spark interest, but creating a whole host of questions about who this forgotten queen was.

When I found a book in Waterstones titled ‘Celtic Queen, The World of Cartimandua’ (by Jill Armitage) I thought I’d found a more detailed account of her life. Despite the book bearing Cartimandua in the title, she doesn’t appear in it for very long..The book goes into amazing detail when it comes to the minutiae of ancient British society. There are chapters on settlements, pottery making, clothing, religion, and everything else that might one might need if one wished to imagine oneself in the Celtic world. However, Cartimandua herself appears in the first chapter, before vanishing until chapter eleven, and then stepping in and out of chapters until we get to chapter twenty-one “What Happened to Cartimandua”.

Spoilers: no one is sure.

Most of what is known about Cartimandua is pulled from Tacitus, the Roman historian. It’s safe to say, that Tacitus was not a fan of the Celtic Queen. This is despite Cartimandua being an ally of Rome.

She handed over one of Rome’s enemies in chains, yet is painted as a devious woman.

Tacitus wrote about her because there was no way to write her out of the events taking place in Britain. He was forced to acknowledge her existance, but he made his opinions on women in power very, very clear.

Various Celtic leaders rose up against Roman rule, perhaps most famously the Celtic Queen Boudica. While I would love to write a blog post entirely around two British Queens standing on opposite sides of the Roman Invasion of Britain, I’m afraid this is the only mention Boudica will be receiving. Instead, we’ve got to discuss Caratacus.

Defeated by the Romans, and with his wife and children captured, Caratacus was one of those Celtic leaders who rose up against Roman rule. He asked Cartimandua to side with him against Rome. She declined, clapped him in chains, and presented him to the Romans.

It’s suggested that her husband was not on board with this decision, but Cartimandua inherited her crown. It’s was her’s, not her husband’s.

While Tacitus (the Roman historian who was forced to write about celtic queens) doesn’t like Cartimandua, he loved Caratacus. The defeated King was dragged to Rome where he was forgiven for his uprising and allowed to live on with his family. He was unable to convince Cartimandua to turn against Rome, but his silver tongue won over the Emperor.

Tacitus, who is our main source of first-hand accounts for this period and these individuals, never visited Britain. He never met Cartimandua, but most modern accounts of her are based on his writings. He was writing about a person he only knew through gossip. Accounts that were likely influenced, if not directly pulled from a man who had found himself trussed up and tossed to the wolves by the person he was telling tales about. Caractus benefited from Rome believing Cartimandua was the bully, and he the victim. Tacitus was more than happy to paint Cartimandua as a foolish woman who made bad decisions. This is despite her technically being Rome’s ally, and Caractus being Rome’s enemy.

After the Caractus incident, Cartimandua divorced her husband Venutius. (The one who didn’t want to send Caractus off to the Romans). The accounts I’ve read by female historians are quick to point out that there is no evidence to suggest that Cartimandua divorced Venutius in favour of her second husband Vellocatus, or that she had started a relationship with Vellocatus before ending her marriage to Venutius.

The rumours that she cuckolded Venutius seem to originate purely from the fact that Vellocatus was Venutius’s shield bearer at one point. The easiest way to discredit a woman in power has always been to accuse her of sexual impropriety, despite the fact that a similar charge against a king would do nothing to sway public opinion on his rule.

At this point, Rome had started to pull back from Britain. Celtic histories were oral rather than written, and Tactitus’ interest waned alongside the Roman Empire, so if there was a record of what happened to Cartimandua it’s been lost. After her divorce and subsequent remarriage, Cartimandua continued to rule as Queen of Brigante. Venutius (husband number one) made two attempts at unseating his ex-wife from her throne.

The first failed due to Rome’s intervention. As a client queen, she was able to call for their aid, and they stepped in to help deflect Venutius’ attack. However, Venutius survived to try again and when Rome’s resources in Britain waned, he attacked a second time, forcing Cartimandua and Vellocatus to flee.

It’s assumed the pair fled to Chester, but there is no record of them arriving or living there. There is also no record of Cartimandua trying to reclaim her crown. However, a lack of record doesn’t warrant the dismissive tone Graham Robb takes in his book ‘The Ancient Paths, Discovering The Lost Map of Celtic Europe’. He only briefly mentions Cartimandua and when it does, it’s frankly patronising.

Robb almost seems to forget that women existed in Celtic Europe outside the role of damsel or daughter in tragic mythologies. On p.131 he mentions philosophers stepping forward between two opposing armies to negotiate peace before the battle can start, followed by a footnote that “this may have been a function of female Druids” as “Plutarch and Polyaenus attributed the power to stop battles to ‘Celtic women’.

‘The Ancient Paths’ is a fascinating book to read, but Robb’s ability to write 298 pages with barely a woman in sight (unless she’s dying tragically) is a little galling. Especially when taunted with footnotes such as the one above.

Cartimandua is enticing partly because she is mysterious. She seems fiercely independent, and Tactius’ treatment of her in his history makes me like her all the more. If there is one thing most modern women can understand, it is the male gaze painting women with power as villains. I don’t think that her losing her crown makes her weak. Venutius spent years plotting his coup and picked his timing well (the second time around at least). If Cartimandua had been a King, would her alliance with Rome have been seen as duplicitous, or as tactically astute? If she had been a man, would her divorce and remarriage have opened her up for attacks against her fidelity? Would her fidelity have mattered if she was a King? Would she have even been notable for comment by Tactitus if she had not been female? Why do we still need to ask these questions when looking at women in history?

Writing Cartimandua into my new poetry collection ‘Stone Tongued’ feels like a small step towards balancing the scales when it comes to how she has been treated by history. I haven’t tried to give her a happy ending where she vanishes into the sunset to live out her years with Velloctus, and I haven’t rewritten history to have her raise an army to vanquish her ex-husband, but I have tried to give her a moment where her voice can be heard. Cartimandua isn’t the woman in Tacitus’ history or the villain in whatever tales Caratacus spun for the Roman Emperor. She was a Celtic Queen who ruled the Brigante and disappeared somewhere in Northern England during the 1st century alongside her second husband. She was able to keep her crown despite the Roman invasion, maintaining a kingdom. This was not a weak person. She does not deserve to be dismissed because of her gender.

Cartimandua Fleeing For Chester by Carol J Forrester

Perhaps I should not have wreathed Caratacus in chains.

But his mouth was trouble
and his words licked like flames around my husband’s ears
until they spoke with matching tongues of smoke
and ember.

Maybe I should have doused them both.

Now all fire is forbidden for fear of discovery
and cold scuttles up my spine
sharp as any reminder.

Sleep is brief and when I dream
it is of Rome, and Caratacus with his burning laughter.

It is of Venutius, and his kin
how I might break them and retake
all that is mine.

Let them call me treacherous, or cunning
or any other word reserved for women.
I am no less a queen.

Leah Atherton – A Sky The Colour of Hope – Book Review

Inspired by her solo fastpack of the South West Coast Path, ‘A Sky The Colour of Hope’ is Leah Atherton’s commanding debut collection, published by Verve Poetry Press in July 2020. It boasts an array of powerfully wild and striking poems, drawing the reader through the poet’s journey of grief after the loss of her father. Atherton sets the tone for the collection perfectly in her dedication when she says “For Papa — I think I understand now” and questions what it means to find yourself when the world around you seems determined to shape you to its own design.

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Why Is Confessional Poetry Important? Partly Because, It’s A Record Of The Female Experience In A Scale Previously Unseen

Trigger warning: this post mentions harassment and assault.

According to the Poetry Foundation, the term ‘Confessional Poetry’ came into use in 1959. “Confessional poets wrote in direct, colloquial speech rhythms and used images that reflected intense psychological experiences, often culled from childhood or battles with mental illness or breakdown. They tended to utilize sequences, emphasizing connections between poems. They grounded their work in actual events, referred to real persons, and refused any metaphorical transformation of intimate details into universal symbols.” [Confessional Poetry, National Poetry Foundation]. 

Take for instance the poet Isabella Dorta. With around one million followers on TikTok, she is a successful poet who openly calls herself a confessional poet. Her poetry is inspired by past relationships, and personal experiences. Her poetry creates an instant connection with audiences because often she is talking about shared experiences: love, heartbreak, betrayal, and jealousy, which are universal emotions. 

A lot of us have written love poems at some point or another.

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Vintage sketch of a witch on her broomstick, with a black cat riding behind her.

Shropshire Women, Witches, And Myths – Writing Poems For Stone Tongued

When I started writing my second collection, I thought I was writing a pamphlet of poems about Shropshire folklore, and the way that water weaves through so much of it. That assumption made sense at the time, as the idea stemmed from my poem ‘Trickle Down’, but as I kept writing, different pieces of history and myth started to work their way into the manuscript. I realised I was working on something bigger than a pamphlet, and Shropshire was only part of the puzzle. The pamphlet that I’d been calling ‘Water, Witches, and Women’ started to become ‘Stone Tongued’.

The collection isn’t finished, but since it’s International Women’s History Month, I wanted to to talk about some of the Shropshire women (and women linked with Shropshire) that have inspired poems. The collection pulls from history and myth, so in places the line between those two gets a little blurred. There are stories I couldn’t have included if I was writing a traditional history, because I cannot reference the source material. Writing poems about these poem allows me to focus on finding their voices, rather than double checking my footnotes.

In this post I’m going to be going voice to five women (ten if you count carefully). Kathryn Garner who was tried for witchcraft, Placida who was a Roman woman living in Britain, Mary Jones who was a resident in the Oswestry House of Industry, Hafren an ancient British princess, and Ginny Greenteeth the water hag. I will hand you over to them:

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