Despite the Devil being conceived to direct human baseness away from our goodly selves, there has always been sin in the world. The Bible has it that woman is the weaker vessel, therefore her inferior ways could easily let the Devil into the house, and into her oh so corruptible body – and thus the story begins.

Helen Ivory’s new collection Constructing a Witch fixes on the monstering and the scapegoating of women and on the fear of ageing femininity. The witch appears as the barren, child-eating hag; she is a lustful seductress luring men to a path of corruption; she is a powerful or cantankerous woman whose cursing must be silenced by force.

These bewitching poems explore the witch archetype and the witch as human woman. They examine the nature of superstition and the necessity of magic and counter-magic to gain a fingerhold of agency, when life is chaotic and fragile. In the poems of Constructing a Witch Helen Ivory investigates witch tourism, the witch as outsider, cultural representations of the witch, female power and disempowerment, the menopause, and how the female body has been used and misunderstood for centuries.

Poetry Book Society Recommendation. With ten collage illustrations by Helen Ivory.

The Anatomical Venus is an often disturbing journey of how women have been treated by men through the ages. It is historical reportage. It is controlled and focused anger without sentiment. It is subjugation and oppression laid bare in subtle and often mesmerising ways. It is Angela Carter’s eye meets Elaine Showalter’s brain. It is dark, upsetting and erotic. And it’s laced with magic from the first page until the last. It’s the suffering of women, and women fighting back in delicious and unusual ways. It says as much, if not more, about men throughout history as it does about women. Read this book. Then read it again. And again. With each reading, The Anatomical Venus will reveal something new, like all great books do.

Historical it may well be but this collection’s contemporary relevance is searing… This collection is a stunningly curated linguistic exhibition on the historical abuse of women. Enticing and yet flinching, this disquieting house of dolls makes abuse seen and urges us to reevaluate why women are where they are now, and it does so with an eerie and unforgettable beauty.

Helen Ivory is a poet and visual artist. She edits the webzine Ink Sweat and Tears, and teaches for UEA/National Centre for Writing online. She has published five collections with Bloodaxe Books: The Double Life of Clocks (2002), The Dog in the Sky (2006), The Breakfast Machine (2010), Waiting for Bluebeard (2013), The Anatomical Venus (2019), and Constructing a Witch (2024), a Poetry Book Society Recommendation. Fool’s World, a collaborative Tarot with artist Tom de Freston (Gatehouse Press), won the 2016 Saboteur Best Collaborative Work award. A book of collage/mixed media poems, Hear What the Moon Told Me, was published KFS in 2017, a chapbook, Maps of the Abandoned City, by SurVision in 2019, and Wunderkammer: New and Selected Poems was published by MadHat in the US in 2023. The Anatomical Venus was shortlisted for the poetry category of the East Anglian Book Awards 2019. The cover of The Anatomical Venus, which features her own artwork, won the East Anglian Writers Book by the Cover Award (East Anglian Book Awards 2019). Her work has been translated into Ukrainian, Polish, Spanish, Croatian and Greek for Versopolis. She lives in Norwich.