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Fiona Sampson

(b. 1963)

"Paying attention - listening - to one kind of complexity tells us something about the complexity of experience in general."  Fiona Sampson

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These poems come from a special recording for the Poetry Archive:

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Select bibliography

  • The Self on the Page (with Celia Hunt) Jessica Kingsley, 1998
  • The Healing Word, Poetry Society, 1999
  • Folding the Real,Seren, 2001
  • A Fine Line: New Poetry from Eastern and Central Europe (co-editor) Arc Publications, 2004
  • Creative Writing in Health and Social Care (editor) Jessica Kingsley, 2004
  • Evening Brings Everything Back/Jaan Kaplinski (translator with Jaan Kaplinski) Bloodaxe, 2004
  • Hotel Casino (pamphlet) Aark Arts, 2004
  • Setting the Echo (pamphlet) Addenbroke's Hospital, 2005
  • The Distance Between Us Seren, 2005
  • Writing: Self and Reflexivity (with Celia Hunt) Palgrave Macmillan, 2005
  • Day/Amir Or (translator with Amir Or) Dedalus (Dublin), 2006
  • Common Prayer Carcanet, 2007
  • On Listening: selected essays Salt, 2007
  • Fiona Sampson reading from her poems, The Poetry Archive 2007
  • Poetry Writing: The Expert Guide Robert Hale Ltd, 2009
  • A Century of Poetry Review (editor) Carcanet, 2009 (PBS Recommendation)
  • Rough Music Carcanet Press, 2010
  • Music Lessons: The Newcastle Poetry Lectures Bloodaxe, June 2011
  • Percy Bysshe Shelley (editor) Poet to Poet, Faber, 2011
Fiona Sampson was born in London, and grew up in the West Country, on the west coast of Wales and in Gloucestershire. Her background in music forms an important part of her poetic voice – leaving school at sixteen to study the violin in Salzberg, Paris, Gstaad and London, she worked as a soloist and chamber musician until her mid twenties. She then took up residencies which pioneered writing in health and social care: - work for which she is now internationally recognised. She studied at the Universities of Oxford where she won the Newdigate Prize, and Nijmegen, gaining a PhD in the philosophy of language. This work led to a series of books on the writing process, from the academic – Writing: Self and Reflexivity, and Writing: Self on the Page, both with Celia Hunt – to the practical: Writing in Health and Social Care and The Healing Word.

She has been widely translated, with eight books in translation including Patuvachki Dnevnik (Travel Diary), which was awarded the 2004 Zlaten Prsten (Macedonia). Her own translations include books by Jaan Kaplinski and Amir Or. A specialist in the literatures of Eastern Europe, she co-edited A Fine Line, an anthology of young poets from Central and South-Eastern Europe, and founded and edited Orient Express (2002-5), a magazine of contemporary writing from that region. In 2005 she became the first female editor of Poetry Review for sixty years. As a critic, she contributes regularly to The Guardian, The Irish Times, The Independent, TLS and other publications.

Fiona Sampson’s second collection of poetry, Folding the Real appeared from Seren in 2001. She held a three-year Arts and Humanities Research Council/AHRC Fellowship at the Centre for modern and Contemporary Poetry, Oxford Brookes University (2002-2005) to write the dream-like verse novel The Distance Between Us, a journey through a long distance love affair. Here, distance isn’t purely geographical – the poems speak of the distances within a relationship; seeking for the truths that surface in the moments that syntax, language and even the shape of words on the page seem to dissolve. In her third collection Common Prayer, short-listed for the TS Eliot Prize in 2007, her precise and musical language meditates on the juxtaposition of everyday and inner landscapes. ‘Trumpledor Beach’, short-listed for the 2006 Forward Prize for best single poem, moves from deckchairs and coke-tins to the self’s awareness of itself, against the background sound of the sea. Sampson uses white space – varying degrees of silence to create, what she calls, "the stretched line of attention holding itself".

Fiona Sampson has said that while she enjoyed being a professional performer, she was not a composer; poetry enables her to ‘say more.’ From 2007-2008 she held a Fellowship in Performance and Creativity at the University of Warwick to work on the relationship between poetry and music. She has also collaborated extensively with visual artists, in commissions from ACE (Southern Arts) to Ledbury Poetry Festival, and has a special interest in artists’ books. In her most recent volume of essays, On Listening, she explores how that notion is important to her in all her work, from translation and community work to editing, reviewing and writing: - since when we are not speaking, we are aware of something beyond ourselves. The recordings she has made for the Poetry Archive bear this out. Using her voice as an instrument to release the music of her lines, and the charged spaces between them, Sampson lifts her words from the score of the page and allows them to live in our heads.

This recording was made on the 13th November, 2007 at the Audio Workshop, London and was produced by Richard Carrington.


1992 Newdigate Prize

1999 Arts Council of Wales Writers' Award

2002 K. Blundell Trust Award

2004 Zlaten Prsten prize (Macedonia)

2006 Charles Angoff Award (US)

2006 Forward Poetry Prize (Best Single Poem) (shortlist) Trumpeldor Beach

2007 T. S. Eliot Prize (shortlist) Common Prayer

2009 Cholmondeley Award

2010 Forward Poetry Collection Prize (shortlist) Rough Music

2010 T. S. Eliot Prize (shortlist) Rough Music

2009: elected a FRSL /Fellow of the Royal Society of Literature

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