We are delighted to welcome the charismatic Simon Lamb to the YLG blog to discuss his debut collection A Passing on of Shells with Yoto Carnegies judge Tanja Jennings. With each miniature story composed in 50 words, it has sparked excitement in the world of children’s poetry. 

Poet, performer and storyteller Simon grew up in Scotland where drama was his first love followed by mathematics. He has been a Primary School teacher, reviewed books, performed poetry at festivals, toured with a one man show and now facilitates workshops in schools. In 2022 Simon became Scriever at the Robert Burns Museum in Ayrshire giving him the opportunity to create new projects promoting the literature of Scotland and celebrating new voices.

Here Simon talks about what poetry means to him. He explains how an idea became a reality when Scallywag Press commissioned him. 

Your debut poetry collection was a joy to read. It’s contemplative, humorous, lyrical and experimental with the concept of story and quest running throughout it. What inspired you to craft poems in 50 words?

The concept of the fifty 50 worders started in 2014. It’s the Goldilocks number. It’s not a six-word story or a hundred-word story. It’s that middle ground. This appealed to the mathematician in me. I wrote them over a year, put them away and then revisited the drawer in the Pandemic.

You teamed up with Scallywag Press to launch your collection. How did this come about?

It happened because I had been reviewing children’s books for a newspaper in the Highlands which featured titles from Scallywag Press.  They contacted me out of the blue asking if I had any writing they could look at. It was just meant to be.

Can you explain the idea behind your title?

For me launching something like fifty 50-word poems is like 50 little books rather than just one book. I was inspired by a nature programme about the vacancy chain of the Hermit crab and the passing on of shells. Just such an intriguing concept to me. Writers love finding those things that we can then use to talk about other stuff. I think that’s really obvious in Chris’s illustration where he chooses not to illustrate crabs but to depict humans within shells.

What was it like collaborating with Chris Riddell?

I’m still pinching myself it’s happened. He’s a superstar. I felt incredibly lucky. For me one of my favourite parts of the entire thing was sitting down with his roughs for the very first time and seeing these 50 first illustrations. 

Can you pick a favourite illustration?

I have a soft spot for Snow Globes. Chris’s illustration for that one is just pitch perfect to those words. He’s captured the moment of capturing the moment.

What about the creative process behind the layout of the book?

Scallywag hired me to typeset the book. It’s thrilling that all of the spreads were typeset before Chris illustrated. I guessed where all of the words might appear and he illustrated around it. That’s talent.

How important is structure and the performance element of poetry to you?

I think there’s a link between performance and the typed word. In Snow Globes there are long lines and big thoughts. In Tales from a Garden there are short lines and little images of what we see around us. Spaces between words illustrate movement in The Three-Legged Race. We should be encouraging fun in children’s poetry. They shouldn’t just see poetry as rhyming couplets. 

Is there a poem in your collection that has inspired young audiences to create?

I read Two Slugs Just Chilling in the Compost Bin at an event. One of the boys was inspired to write a sequel about the disappearing slug. Just wonderful.

You’ve described Poetry as a snow globe. Can you elaborate on that? 

I think Snow Globes is the closest I’ve ever come to defining poetry. I wrote it when I realised that I had more to say about poetry itself. 

So, Poetry for you is like a miniature world captured in 50 words?

The use of the word capturing extends the poem out beyond the 50 worder. We’re trying to capture something on that blank of piece of paper. Almost flourishing something into existence that’s then captured. We’ll grow older but the poem will forever be there. We might read it differently but the poem will always be as it was.

You’ve used your collection to reflect how poetry is taught in schools. What do you think is the most effective way to connect students with poetry? 

I think about this often. It’s stereotypical but true. In Primary we encounter poetry as comic verse. In Secondary it’s heavy, weighty, grey and sad. It’s almost like that’s all it’s allowed to be. That’s stifling. It does instil the idea that there’s rhythm in the rhyme and shows that comic verses stick but we’re not allowed to bleed over. I worry that when we teach poetry, we only teach structure and form without teaching what poetry is, about it being the art of playing with words and the freedom of using words. 

The concept of story and quest is significant in your collection. What were your thoughts when writing Apocalyptic Scene?

I had this vision in my head of a character who is triumphant at this moment. It poured out in this purple prose. I’ve always been struck by Geraldine McCaughrean’s Carnegie Medal speech,

“We must never be afraid of using words that make the kid go and explore further” so I included meaty words.

Are there any poets you find inspirational?

I like Simon Armitage and Zaro Weil. Scottish poet Don Paterson has done some cool stuff with narratives and voices.

What advice would you give to students studying Performing Arts?

I’d say remember that you are part of a community. Explore every aspect and make the most of every opportunity.

Congratulations on your Scriever post. Can you tell us more about what it will involve?

It’s important to make sure that we are celebrating and commemorating Burns but also exploring other Scottish writers beyond that. Poetry should be enjoyed all the year round. The more voices we hear the better literature is. The Scriever Introduces showcases four current Scottish Writers inspired by place and history- Justin Davies, Barbara Henderson, Lindsay Littleson and Theresa Breslin.

Have you any future projects planned?

This book has created ripples. It looks different and feels different. I’m still thinking about what I want to say next.

A big thank you to Simon Lamb for the interview, and to Tanja Jennings and Scallywag Press for making this happen.