Writing & Poetry

I am primarily a performance poet, writing often about the current political climate in the UK and the wider world, but also on topics such as mental health, introspection, family, grief and landscapes.

I started writing as a way to express difficult and confusing feelings in and it is now an intrinsic part of life.

I write on similar themes for page and stage.

Amy performing a poem, hand up in the air, in colourful arcade-carpet patterened dungarees

Spoken Word Poems

‘Where We Are’

I was commissioned by Apples and Snakes for their 40 year anniversary ‘Future Voices’ commissions.  It is a video I’m very proud of, because it includes the mouths and voices of 22 brilliant Northern voices (including my own).

This poem was written after changes to Personal Independence Payment in early 2025, and was performed at Crips Against Cuts rallies and demonstrations across the UK.

'If you Can Work you Should'

You call it a benefit
but that’s not quite right
is it really a benefit
to give us access to life?

More benefits cut
From those less able to fight
just another way
to harden an already harder life

More cuts in PIP
means less will survive
easier to access Euthanasia
than it is to thrive

the left or the right –
none of them doing right
by the most vulnerable people
early deaths you invite

Arthiritis or cancer
to them, none of it matters
cleaving basic from basics
leaving more lives in tatters

If the work makes you worse
then you’re not worth your dues
say we’re scrounging, “just crack on”
“do you really need both meds AND food?”

Millions on wait lists
just about pushing on
when you’re finally seen
they say “you’re just too far gone”

So they’ll cut and they’ll cut
never taxing billionaires more
living on pennies already
and we all know the score

At this point it’s only the fittest
of the pack who will survive
enforced ‘do not recusitate’s
as if we’re not worth being revived 

From birth to death worthless
yellow sticker label
a life worth less to capitalism
if they can’t harness your labour

There’s hardly any help as is
how can you make pittance less?
disabled people don’t need your pity
they need the constant attacks addressed

For PIP the fraud rate is zero
so it’s not about fraudulent claims
nothing but more people failed
to add to the long list of names

A lengthening list of people
who are being repeatedly lost
in a constant fight for recognition
simply more potential tossed

And this is going to keep on happening
if we don’t have a seat at the table
different levels of ability
doesn’t mean totally unable

No change will ever happen
unless we are enabled
this can’t be the way life’s supposed to be
for anyone disabled

How dare you say “If you can work you should”
we’re waiting for you to do your job
to rework a failing system
make useful your never hungry gob

Make benefits beneficial
let them actually mean what they say
’cause right now all that you’re doing
is pushing more and more of us to the fray

'Body of Evidence'

I feel as though I’m being pulled apart and down at the same time –
like my earlobes are weighted,
dragging my chin to meet the soles of my shoes each time I take a step.
I find it hard to believe that there are some people who do not feel this way –
who have not always felt this way,
who walk around, chin high without the worry
that the area where the base of your skull meets
the peak of your spine will become larger
as your head flag removes itself from its post
to tumble down and meet the ground.

Sometimes I get so overwhelmed with it all I have to lie on the ground.
My feet are firmly planted on the ground.
So much so, it’s hard to lift them off of it and into the air,
if only for a brief moment before they, inevitably,
return to their rightful resting place.

Like the final crack that breaks the disabled person’s back,
I am exhausted.

My spine is splintered.
My knees are hyper-extended into a crescent shape.
My fingers seem to be held together only by the tissue surrounding them
and my shoulders cannot carry the weight
of all of these existentialisms.

What if I get worse?
What if I am always in pain until the day that I die?
Will I greet the earth earlier than expected?

My fingertips continue to bind themselves together as I walk –
as if the core of my being cannot let them separate and individualise;
the tension is what keeps the hand together.

What keeps the whole body together –
I try to hold myself together while acknowledging the anticipation that I might fall apart.

I am told my thumb shouldn’t be able to touch my wrist when pushed back –
but it can.
My thumbs ache from being too far separated from their true pride of place.

I’m told that my hips shouldn’t move in that way,
but they do.
My hips try to push themselves outward from the coccyx is by at least a millimetre a day,
there are quotas to be met, after all.

What does it mean when your own body betrays you?
When the thing you love most is to walk all day, through the park, down into the dene with the dog bounding with you, but that leaves you in excruciating pain and stiffness for days afterwards?

Does it mean that it’s not for you?
Does it mean that you are simply unlucky? –
Does it mean that you are forever destined to have to defend and collect yourself like a body of evidence
to a jury of doctors and nurses
and specialists who will poke and prod and test and scan and tug and bend and take and gawk?

Does it mean that if your knees are in conjunction with your wrists
and your ankles are in cohorts with your collarbone,
you should just accept that a life of pain
and constant speculation is the only way forward?

That you should have raised eyebrow after raised eyebrow –
how old are you?
And you have that much wrong with you at, what, 20?
I laugh it off, say I’ll be fucked in a few years time –
but, oh, I’m sorry,
did I make this conversation awkward for you?

No, you’re right, keep prying into my medical history.
No, you’re right. I simply cannot be disabled.
But there are no right answers to your questions.
I checked, down on the floor where my anvil meets the pebbles.

'The Table'

Eee, hey!
D’yu rememba all them nights playin’ the bingo-board-game in the kitchen, on the valentines-gift-table He wrote under for his wife years ago?
There was no prizes to the games.
Nout but them and you on a summer’s neet,
after eating questionable food wi’ watered-down ketchup while learning rude songs “not to be repeated to parents” (that yu repeated to parents and got them in trouble for). And d’yu rememba repeating everything at least twice, to She who refused to wear a hearing aid
despite being deef aal Her life,
fuelling the joke that when He asked ‘a out all them years ago, He asked ‘a in ‘a deef ear and
Shu didn’t kna what Shu was saying yes to.
A think she probably started it – like telling all us bairns that She got married in
an awld fur coat,
ney knickers,
one shoe and one wellyboot.
Wu aal believed ‘a at one time or another.
Shu loved playin wi’ wu like that,
like takin ‘a false teeth out to scare the little’uns. Later shu’d do it on request tu make wu laugh.
And d’yu remember how, despite there being so many of us, He always made wu feel so special?
Teaching wu things beyond wa years and,
when wu understood, he was so proud.
And when wu didn’t, he was patient.
A kna I was definitely His worst chess opponent, but
He played with iz anyways.
He kept playing, and teaching.
D’yu remember where wu all got wa love fa
crosswords,
and sudoku
and word searches?
His morning paper.
And yu’d go wi’ Him to go get it,
and come out wi’ some sweets or one of them
weird sticky aliens that wa’ meant to have babies but never did? And yu’d sit and do them togetha – pencil first.
And how He’d let wu use His laptop with the wifi dongle to play solitaire
and minesweeper,
which He tried to explain a few times
but A still don’t really undastand.
D’yu remember them trips to the beach
“for an ice cream”, when wu’d come back with
buckets full u’ pebbles for the raised bed in ‘a back garden? And how shu’d get us up there to replace them all, and “grab the weeds while we’re up there an’orl”. D’yu remember the drives to neywhere,
wi’ some charity shop stops on the way?
Sometimes, yu’d go wi’ Her, and be spoilt rotten – yu’d be given money to pick ‘one thing’
and then, shu’d pick another fa yu
and then, pay for the thing yu picked in the first place. And then, shu’d always gi’ you some change
to give t’ someone homeless too.
Some days, though, yu’d stay wi’ Him in the car – listening to James Blunt Back to Bedlam or,
once he got an AUX system, CeeLo Green Fuck you, and reading — everything from fiction to manuals.
And after all that, yu’d sit at the valentines-gift-table at the end of the day,
belly full and happy,
playing the bingo-board-game wi’ no clue that undaneath was the message He wrote for Her:
‘Jim loves Olive’.
Wu all forgot some of them memories that shaped wu until recently.
Wu all forgot
until wu found the message again
when tha’ was neyone left to sit at the table.

'Light in the Dark'

Where is the dark?

Is it hiding behind street corners?
Is it hiding under beds?
Is the dark something tangible
Or is it all just in our heads?

How do we find the dark
When everything, now, is grey?
Sometimes an angel’s wings are pinned on
And cast shadows in their wake

Goodness doesn’t correlate
With power or with capital
People masquerading
With their masks barely passable

It’s hard to trust our judgement
tinted specs given out in classrooms
Mandated by powers that be
To hide the shadows they subsume

Ballot sheets with opposing deets
To promise a beacon of hope
But sometimes the appearance of light
Is just a shadow cloaked

When darkness is presented shiny
We’re trained to ignore our instincts
Convinced that light is the issue
And told to look right at an eclipse

The darkness is sludgy and sticky
it clings to everything that is bright
It makes you wonder about the strength
Of that still flickering light

And we’re taught not to see or look for it
To forget that it exists
But it’s there, for us to harness
When armed with sparks, ready to resist

And it’s burning,now, its moving
It’s taking the dark by storm
Its illuminating the shadows
And waiting to transform

More people are picking up matches
Signs, banners and making noise
The flicker is becoming a roar
And that roar is our voice

'Politely Decline'

Do not ask me if I want an orange.
I do not want a fucking orange –
They stink.
I could smell them at the other end of the playground at school,
And I can smell them now as we sit on our lunch break.
I politely decline.
Apparently it’s not socially acceptable to tell someone where to shove said spherical fruit –
But, no.
I, under no circumstances, want your spare orange.
You open it by ramming your clean – no longer clean- nail into the skin , which by the way is a vile texture to begin with;
And the juice and pulp gets under your fingernails and onto your fingers which are now sticky.
What a delight.
And then you peel off the shed, bit by bit
To reveal that awful
White stuff –
That’s all strings and gross and you have to pick some of it off because there’s too much of it over some of the segments.
And – oh my god – why is it like a spider web?
And then the eating.
You tear a chunk of it away from the rest of the body of pulp,
and it makes that horrible sound:
Not quite a ripping sound but a
Horrible ‘Slrrch’ noise.
And then you bite into the segment-
Breaking skin with teeth –
Juice spattering all around and onto your white shirt.
Oops! You say.
Oops indeed.
Oops indeed.
And then you reach three fingers into your mouth to retrieve the pierce de resistance of sensory assaults in food – a rogue pip.
It’s fucking vile.
So no.
I do not want a fucking orange.
But thanks for asking
I guess.

“Amy Langdown is just like the Tyne. Their poetry will take you on a journey, she creates flow effortlessly with tone and rhythm. She has carved a space into the landscape of the North-East creative scene like no one else, shaping the way that we listen and make.

She is one of my biggest inspirations and, like the great rivers that gave life to our region, Amy is a force to be reckoned with. She is the proof that by choosing to speak with accent and dialect our words can not only hold great meaning but have incredible power. Thank you Amy, I share my poetry because you showed me the radical joy in using your voice.”

– Lizzie Lovejoy (writer, illustrator)

“Amy Langdown is just like the Tyne. Their poetry will take you on a journey, she creates flow effortlessly with tone and rhythm. She has carved a space into the landscape of the North-East creative scene like no one else, shaping the way that we listen and make.

She is one of my biggest inspirations and, like the great rivers that gave life to our region, Amy is a force to be reckoned with. She is the proof that by choosing to speak with accent and dialect our words can not only hold great meaning but have incredible power. Thank you Amy, I share my poetry because you showed me the radical joy in using your voice.”

– Lizzie Lovejoy (writer, illustrator)

Achievements

Awards

– I won the New Writing North Northern Writers’ Matthew Hale Award in 2018
– I have been twice shortlisted for the Terry Kelly Poetry Prize, in 2017 and 2022

Organisations

I have worked with cultural organisations including New Writing North, Curious Arts, Poet in the City, The Customs House, Apples & Snakes, Newcastle Libraries and The Theatre Royal. 

Publications

– ‘Voices of the Silenced Generation’ zine
– ‘New Writing North Young Writers’ 18-25′ Zine
– ‘Kerflop’ Zine
– ‘The Science of Mystery’ (young people’s pulp) zine
– ‘The North’ Zine
– ‘The Terry Kelly Poetry Prize anthology’, 2017 & 2022
– Fragmented Voices’ ‘Inspire: Poems with Breath in Them’ anthology
– The Chronicle
– The Northumberland Gazette
– Narc Magazine

Events and Venues

– Cobalt Studios (Born Lippy)
– Northumberland Pride
– Northern Stage (The Reaching Out Festival)
– Tees Women Poets TWOOMPH
– Cluny 2
– Newcastle Poetry Festival (Geet Muckle Slam)
– Customs House (The Take Over Festival)
– Live Theatre
– Northern Pride (Curious Arts stage)
– Durham Fringe Festival
– The Cumberland Arms

Achievements

Awards

– I won the New Writing North Northern Writers’ Matthew Hale Award in 2018
– I have been twice shortlisted for the Terry Kelly Poetry Prize, in 2017 and 2022

Organisations

I have worked with cultural organisations including New Writing North, Curious Arts, Poet in the City, The Customs House, Apples & Snakes, Newcastle Libraries and The Theatre Royal. 

Publications

– ‘Voices of the Silenced Generation’ zine
– ‘New Writing North Young Writers’ 18-25′ Zine
– ‘Kerflop’ Zine
– ‘The Science of Mystery’ (young people’s pulp) zine
– ‘The North’ Zine
– ‘The Terry Kelly Poetry Prize anthology’, 2017 & 2022
– Fragmented Voices’ ‘Inspire: Poems with Breath in Them’ anthology
– The Chronicle
– The Northumberland Gazette
– Narc Magazine

Events and Venues

– Cobalt Studios (Born Lippy)
– Northumberland Pride
– Northern Stage (The Reaching Out Festival)
– Tees Women Poets TWOOMPH
– Cluny 2
– Newcastle Poetry Festival (Geet Muckle Slam)
– Customs House (The Take Over Festival)
– Live Theatre
– Northern Pride (Curious Arts stage)
– Durham Fringe Festival
– The Cumberland Arms

Playwriting

‘Bombing’

My Short play ‘Bombing‘, which follows the increasingly complicated relationship between two friends, Dylan and James as they navigate the awkward teenage years, complex feelings and being a ‘lad’. It has been produced twice, both times by Squiggle Productions with Rachel Stockdale as director.

It was first staged for Four New Plays at The Central Bar, Gateshead. It starred Kieron Michael and Aiden Nord. It was then staged again for‘Best of’ Four New Plays’ at Durham Fringe Festival, starring Elijah Young and Ben Gettins.

Live Theatre Playwriting Course

I was selected to be a part of the Live Theatre Playwriting cohort of 2022/23.

The course was a 10-week intensive playwriting course exploring the key aspects of writing a play for the stage. It included specialist classes with theatre professionals including Bruntwood Prize winner Anna Jordan (Succession/Killing Eve) and BAFTA Breakthrough Vinay Patel (Murdered By My Father/Doctor Who).

An image from the Durham Fringe 'Four New Plays' performance of my short play 'Bombing', with two people sitting side-by-side, in conversation.

Let’s Talk!

Follow Me!