To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
Ending It
Jill Abram
Today I didn’t send the children to their room
as knots formed in my belly
at the sound of your key in the door
I didn’t scan for warning signs in your eyes
on your breath, how you moved,
cover bruises with make-up and lies
I didn’t grill your pork chop just-so
smooth every lump from your mash
for you to throw the plate across the room
I didn’t bounce off the wall from the fist
I didn’t see coming, feel your hands
around my throat, lose my breath
I didn’t pretend to be asleep as you came up to bed
hoping you wouldn’t drag me out by my hair
get in with me to do worse
I didn’t bleed from my busted nose
losing our baby which you kicked out of me
yelling that it wasn’t yours.
Last night I put a knife under my pillow.
Tomorrow I will hold my head up.
ALAN MORRISON recommends a consummate, heart-warming collection about a working-class upbringing in the industrial north-east
ANDY CROFT welcomes the publication of an anthology of recent poems published by the Morning Star, and hopes it becomes an annual event
RUTH AYLETT reviews two collections of outright political poetry
by Widad Nabi


