lives in Warkworth, Northumberland. He’s the author of four poetry pamphlets — Spinning Plates (HappenStance Press, 2012), Ballast Flint (Cromarty Arts Trust, 2013), First Hare (Mariscat Press, 2020) and Coping Stones (Fras Publications, 2021), and two full collections, both from Nine Arches Press — Cairn (2014) and Passport (2018). He’s also the editor of Finishing the Picture: Collected Poems of Ian Abbot (Kennedy and Boyd, 2015), The Tiny Talent: Selected Poems by Joan Ure (Brae Editions, 2018) and Sydney Goodsir Smith: Essays on his life and work (Brill, 2020).
A rebozo threaded by an ancient needle
Richie McCaffery reviews At Least This I Know by Andrés N. Ordorica (404 Ink, 2022)
Murderous parrots eat souls
Richie McCaffery reviews Mouth of Shadows by Tim Murphy (SurVision Books, 2022)
Limited only by things unseen
Richie McCaffery reviews Hex and Other Poems by Shane McCrae (Bad Betty, 2022)
This barter of enthusiasm
Funny poems by Norman MacCaig, William Makepeace Thackeray and Alexander Hutchison, chosen by Chris Edgoose, D.A. Prince and Richie McCaffery
Luve’s arcane delirium
Richie McCaffery reviews The Mouth of Eulalie by Annie Brechin (Blue Diode, 2022)
Three pamphlets: Erica Gillingham, Stephen Payne and Khadija Rouf
Rachael Matthews reviews The Human Body is a Hive by Erica Gillingham, Richie McCaffery reviews The Wax Argument by Steven Payne, and Bruno Cooke reviews House Work by Khadija Rouf
What does Richie McCaffery say?
I took a fairly predictable teenage route into poetry, discovering Dylan Thomas and falling under his spell ...
Essential poetry from Wayleave Press
Richie McCaffery reviews two Wayleave Press pamphlets — Rib by Sharon Black and After by Jane Routh
Three pamphlets: S. D. Curtis, Sarah Hymas and Geraldine Clarkson
Richie McCaffery reviews Diary of a Divorce by S. D. Curtis, Carla Scarano D'Antonio reviews the hispering by Sarah Hymas, and Hilary Menos reviews Crucifox by Geraldine Clarkson
Then the great wheel began to turn
Richie McCaffery reviews The Slowing Ride by Will Stone (Shearsman, 2020)