https://www.aimeeblackledge.com/poetry daily 0.75 2026-03-05 https://www.aimeeblackledge.com/poetry/the-hesterian monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/61d5515762ec006e89a256b0/1a49f99f-5a6e-401e-89ea-cbf4b006c692/Hester+and+John+III.jpg Poetry - The Hesterian - Attributed to Thomas de Critz, Hester Tradescant and her stepson, John, 1645. Oil on canvas, 136 x 111 cm. Ashmolean Museum, Oxford Image © Ashmolean Museum, University of Oxford. Here me now, don’t pass me by with my black capotain worn high Peep views of scarlet-painted iris twirls My broach branch dripping in pearls I meet travellers from far and wide Come to South-Lambeth’s Ark, our pride A collection of rarities and plants Belonging to the father & son, Tradescants They pay for entry and write of our repute An orchard full of exotics and curious fruit Never a thought of worry passed my mind Until the day we were both played for blind A slinking snake slid into our garden Elias Ashmole, that alchemist charlatan Befriended my John and filled his head with notions of greatness that misled https://www.aimeeblackledge.com/poetry/i-made-them monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/61d5515762ec006e89a256b0/d0d1bf68-6871-433c-89f5-041b7c6e0aed/Jasons+Wedding.jpg Poetry - I Made Them - Rembrandt Harmensz van Rijn, Medea or The Marriage of Jason and Creusa, 1648; Etching, 24.2 × 17.9 cm. Bequest of George Campbell Cooper; 1896-3-164. Cooper Hewitt, Smithsonian Design Museum. Inked up, I’m a horrendous, hefty demon In later touches, my wounded round, face reveals An inquisitive flitter between monster and fugitive A dagger in one hand and poison concealed Helios’s branding blazes across my breasts, and my thumping heart sways the pendant in beat with my rage And what it anticipates Hera’s come to see it all for herself Her peacock with one hundred eyes watches me She knows vengeance better than anyone Even she won’t stop what comes next I’ve more than gadflies in store for you I’m here to witness the rawest convulsions You brought them here, but they’re mine No matter what comes next https://www.aimeeblackledge.com/poetry/medeas-chariot monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/61d5515762ec006e89a256b0/a10fb5d9-2787-43ed-aac8-7467d5f491a7/Medea+in+Chariot.jpg Poetry - Medea’s Chariot - Red-Figure Calyx-Krater (Mixing Vessel): Medea in Chariot (A); Telephos with Baby Orestes (B), c. 400 BCE. Near the Policoro Painter (South Italian, Lucanian, active c. 400 BCE). Ceramic; diameter of mouth: 49.9 cm (19 5/8 in.); overall: 50.5 cm (19 7/8 in.); diameter of foot: 22 cm (8 11/16 in.). The Cleveland Museum of Art, Leonard C. Hanna, Jr. Fund 1991.1 She’s just left Corinth, in a witchy awestruck spectacle— her most dreadful deeds behind her Absconding on a conjured chariot pulled by winged serpent-dragons covered in leopard print scales— lent by some distant relative of means Her rings of shimmering sunbursts explode, blinding your magnolia vision— drawing focus from cavernous mouthfuls of dribble Dressed in Persian armour with her helmet worn high and a double baldric crossing her dark heart— she’s a foreign enemy, exiled abroad by choice Her escape, accomplished through the mystical arts, floating away on promises of protection— followed by the furies and ghosts she self-fashioned When she’s had enough, she’ll perform sorcery on you with the guiltless and marvellous talent to vanish https://www.aimeeblackledge.com/poetry/galateas-closet monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/61d5515762ec006e89a256b0/0e00ebb6-a135-4aba-97e7-8a19a60060af/Rembrandt+Artist+Drawing+from+the+Model+BM.jpeg Poetry - Galatea’s Closet - Rembrandt Harmensz van Rijn, The Artist Drawing from the Model. Etching and drypoint, c. 1639. © The Trustees of the British Museum. Shared under a Creative Commons Attribution-NonCommercial-Share Alike 4.0 International (CC BY-NC-SA 4.0) licence. After John Dryden’s ‘Pygmalion and the Statue’ from Fables Ancient and Modern, 1700. I was content living in ivory until, carved into this piteous figure of incarnate will As I woke to a profane, putrid little man fondling at my breasts once again With filthy black hands bruising my flesh, fervently, hunched over me, this paltry letch No tender pace across my skin His hurried hands dart and spin He excitedly stains my porous thighs Stabbing shortly to satisfy his desires Raging quakes burns my cheeks red Blood pulsing in my ears with dread I could say nothing to stop this brute Aphrodite animated me, but kept me mute His eager gaze burns my eyes wet My nostrils fill with the scent of his sweat Fearful to blink and miss what comes next I wonder how to unmake him, leaving my hex Grabbed so forcible, with revolting intent I want to crush him under my stony footprint I’m kept in a closet stacked with shelves, with his collection of rarities, flowers, and shells Plucked, looted, stripped, and arranged to look attractive Birds squawk from cages, welcoming a fellow captive He pulls me off my plinth onto the tiled floor I refuse to be his virgin idol whore He leads me to his bed, and I promise myself a plan Cultivate a seed that will rot his impending clan https://images.squarespace-cdn.com/content/v1/61d5515762ec006e89a256b0/d24cecc1-9e0d-4c65-aa93-b5419f292bcd/Rembrandt+Artist+Drawing+from+the+Model+BM.jpg Poetry - Galatea’s Closet https://www.aimeeblackledge.com/poetry/the-act-not-the-body monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/61d5515762ec006e89a256b0/ad8ca532-7ecd-464b-97af-26ca019a7dba/Anthony%2Band%2BCleo%2BCropped%2B2-1.jpg Poetry - The Act, Not the Body - Gillian Ayres CBE RA, Antony and Cleopatra (1982), Tate. © Estate of Gillian Ayres RA CBE. Image from the 2019 Tate Exhibition. ©A.Aldred. Gillian Ayres, Antony and Cleopatra, 1982. Tate Collection. Image ©A.Aldred. https://www.aimeeblackledge.com/poetry/portrait-of-a-young-man monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/61d5515762ec006e89a256b0/d688ba44-cb46-4725-9aee-5251ad486b56/1340_RS2867_WA_1850_15-a-edi.jpg Poetry - Portrait of a Young Man - Domenico Ghirlandaio, Portrait of a Young Man, c. 1477-78. Ashmolean Museum, Oxford. Image © Ashmolean Museum, University of Oxford. Domenico Ghirlandaio, Portrait of a Young Man, c. 1477-78. Ashmolean Museum, Oxford © Ashmolean Museum https://www.aimeeblackledge.com/poetry/the-sauce-is-all-wrong monthly 0.5 2026-03-05 https://images.squarespace-cdn.com/content/v1/61d5515762ec006e89a256b0/1642429946040-9826GDJS7ZKN9QO29FBG/VisualVerse-v2.png Poetry - The Sauce is All Wrong - After, Maria Victoria Rodriguez, Chacra. 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