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Helen Mort in 2014

Helen Mort FRSL (born 28 September 1985, Sheffield) is a British poet and novelist. She is a five-time winner of the Foyle Young Poets award, received an Eric Gregory Award from The Society of Authors in 2007, and won the Manchester Poetry Prize Young Writer Prize in 2008.[1] In 2010, she became the youngest ever poet-in-residence at the Wordsworth Trust, Grasmere. In the same year she was shortlisted for the Picador Prize and won the Norwich Café Writers' Poetry Competition with a poem called "Deer". She was the Derbyshire Poet Laureate from 2013 to 2015. In 2014, she won the Fenton Aldeburgh First Collection Prize for "Division Street".

She is an alumna of Christ's College, Cambridge, from which she graduated with a degree in Social and Political Sciences in 2007. In 2014, she completed her Doctorate at Sheffield University with a Ph.D thesis in English/Neuroscience[citation needed] and her BlogSpot "Poetry on the Brain" was one of the Picador "Best Poetry Blogs" choices.

Her collection Division Street[2] is published by Chatto & Windus and was shortlisted for the Costa Book Awards and the T.S. Eliot Prize. In a national survey, it was chosen by sixth-form groups and reading groups as their first choice collection. She has published two pamphlets with Tall Lighthouse press.[3] In 2014 she was named as a Next Generation poet by the Poetry Book Society. In 2023 her memoir, A Line Above the Sky, which had previously won the Boardman Tasker Prize, won the Jon Wyte prize at the Banff International Mountain Literature Festival.[citation needed]

Mort is currently Professor of Creative Writing at Manchester Metropolitan University.She edited the Verse Matters anthology with Rachel Bower who is a Fellow at the University of Leeds. She has appeared on radio programmes such as The Verb, Poetry Please, and Woman's Hour. Individual poems have been published in the New Statesman, "Ex-Industrial (a trailer)", and the Sunday Times, "Admit you feel like all the ice skates in Brazil", as well as the magazines Poetry Review, Granta, The Rialto, Poetry London, The Manhattan Review, and The North.[citation needed]

In June 2018, Mort was elected Fellow of the Royal Society of Literature in its "40 Under 40" initiative.[4]

In 2020, she discovered that innocent photos of her had been used to create pornographic deepfake images. The Guardian made a 2023 documentary film, My Blonde GF, about her experiences.[5]

References

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Helen Mort

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Helen Mort (born 1985) is a British , , memoirist, and rock climber based in , whose writing frequently addresses themes of landscape, physical risk, and identity informed by her climbing experiences. She has published three poetry collections—Division Street (2013), No Map Could Show Them (2016), and The Illustrated Woman (2022)—along with the novel Black Car Burning (2019) and the A Line Above the Sky (2022), which intertwines history with reflections on motherhood. Mort's accolades include five Foyle Young Poets of the Year Awards, the Eric Gregory Award in 2007, and the Fenton Aldeburgh First Collection Prize for Division Street in 2015; her collections have been shortlisted for the , , and Forward Prize. Elected a Fellow of the Royal Society of Literature in 2018, she holds a professorship in at , where her research emphasizes poetry, , and the interplay of physicality and danger.

Early Life and Education

Childhood and Family Background

Helen Mort was born in , , in 1985. She grew up in nearby , during the aftermath of the UK miners' strikes of 1984–1985, which affected many families in the region's industrial communities. Her upbringing was marked by a working-class background, including access to state education, and she has been described as the first in her family—and at her school—to attend . As an , Mort developed an early affinity for language and , reportedly dictating compositions to her mother from a young age. Her father played a key role in nurturing this interest by reading works such as those of to her during childhood. She recalls composing her first remembered poem in , reflecting a precocious engagement with verse that persisted without interruption.

Formative Influences and Early Interests

Mort exhibited an early aptitude for poetry, dictating compositions to her mother during childhood, a practice she links to the imaginative solitude of being an . She wrote her first substantial poem at approximately ten or eleven years old while residing in the region of . Shortly after beginning , she encountered the Foyle Young Poets of the Year Award competition, securing five victories that affirmed her burgeoning talent and provided early validation in the literary sphere. Parallel to her literary pursuits, Mort's interests in outdoor activities emerged through family-led explorations in the , where she joined her father on walks starting at age three, including the demanding 13-mile Kentmere Round circuit by age four or five. These experiences cultivated a foundational affinity for rugged terrain and physical challenge. In her teenage years, this evolved into more structured , as she accompanied her father on ascents of Scottish Munros, which ignited a specific passion for and . The interplay of parental guidance—maternal support for creative expression and paternal introduction to hillwalking—and the proximate natural landscape of thus formed core influences, intertwining her inclinations toward and from youth. These dual threads persisted as reciprocal inspirations in her later work, with the physicality of climbing informing poetic themes of and perspective.

Academic Training

Helen Mort earned a Bachelor of Arts degree in Social and Political Sciences from Christ's College, University of Cambridge, graduating in 2007. She subsequently pursued doctoral research at the University of Sheffield, completing a PhD in English Literature in 2014. Her thesis, titled 'Something else, then something else again': neuroscience and connection-making in contemporary poetry, explored intersections between neuroscience and poetic metaphor in modern poetry. This interdisciplinary work built on her earlier interests in poetry and cognition, as evidenced by her contemporaneous blog "Poetry on the Brain," which documented research into neural processes underlying poetic language.

Literary Career

Poetry Publications

Mort's early poetry appeared in pamphlets, beginning with The Shape of Every Box published by Tall Lighthouse in 2007. This was followed by A Pint for the Ghost in 2010, also from Tall Lighthouse and selected as a Poetry Book Society pamphlet choice for Spring 2010. In 2011, she released Lie of the Land through the Wordsworth Trust. Her debut full-length collection, Division Street, was published by Chatto & Windus in 2013. It won the Fenton Aldeburgh First Collection Prize and was shortlisted for the and the Costa Book Award for Poetry. The second collection, No Map Could Show Them, appeared in 2016 from Chatto & Windus. In 2022, Mort published her third collection, The Illustrated Woman, with Chatto & Windus; it was shortlisted for the Forward Prize for Best Collection.

Prose and Non-Fiction Works

Mort's fiction includes her Black Car Burning, published in 2019 by Chatto & Windus. The narrative centers on Alexa, a in grappling with personal instability, including an estranged father and a distant , who encounters Petra, a charismatic climber, leading to explorations of trust, trauma, and the landscapes of the . The draws on themes of loss, healing, and regional identity, reflecting Mort's roots in . In the same year, Mort released Exire, a hybrid work published by Wrecking Ball Press, described neither strictly as a novel nor a traditional but as interconnected narratives that can stand alone yet form a cohesive whole. The stories showcase her ability to blend introspective character studies with atmospheric prose, often evoking emotional and relational tensions. Mort's non-fiction output features A Line Above the Sky: On Mountains and Motherhood, her first full-length work in the genre, published in 2022 by Ebury Press. This memoir interweaves personal accounts of —with its inherent risks and physical demands—with the experiences of early motherhood, examining affinities and conflicts between vertical ascent and familial vulnerability. The book received the Boardman Tasker Prize for Mountain Literature in 2022 and the Banff Mountain Book Competition Grand Prize, recognizing its literary exploration of risk, wildness, and gender in outdoor pursuits. Additionally, Mort edited Waymaking, an anthology guide to routes contributed by women writers, published by Vertebrate Publishing, emphasizing practical and narrative elements of outdoor activity. Her creative non-fiction also extends to (2024), further developing themes of personal and historical introspection.

Themes and Writing Style

Helen Mort's poetry frequently explores the intersections of , physical embodiment, and socio-political conflict, often from her Sheffield roots and experiences in climbing. In her debut collection Division Street (2013), themes center on the tensions between industrial heritage and modern life, including the 1984 miners' strike and clashes at Orgreave, as depicted in poems like "Scab," which confronts violence between picketing miners and police. The work also addresses intimate relational strains, portraying distance and desire amid broader communal strife. Subsequent collections expand into gendered experiences of exploration and resilience. No Map Could Show Them (2016) focuses on female mountaineers and runners, evoking historical figures who traversed the while interrogating contemporary themes of , , strength, and suppressed rage in male-dominated pursuits. Journeys—both literal ascents and metaphorical—serve as motifs for and defiance against erasure. In The Illustrated Woman (2022), Mort shifts to bodily inscription and transformation, using tattoos as metaphors for self-examination, motherhood's demands, and digital vulnerabilities like deepfakes, set against landscapes from the to Greenland's glaciers. Her , including the Black Car Burning (2019), mirrors these concerns but emphasizes layering, with environments shaping character and tone amid themes of inheritance, silence, and complicity. Mort's writing style prioritizes sonic precision and structural economy in , yielding tightly wrought lines that emphasize and to evoke movement and immersion. Poems often adopt a contemplative yet assured tone, blending wit and to navigate without , as in relational observations that fixate on others' gazes. She distinguishes as distilled from physical dynamism—whittling raw ideas into form—contrasting it with 's methodical accumulation from stillness. This results in authoritative, judgment-free explorations that reclaim agency for marginalized voices, whether historical women climbers or participants in labor disputes.

Academic and Professional Roles

Teaching Positions

Helen Mort served as the Douglas Caster Fellow in the of English at the , a role in which she led workshops and contributed to events, including sensory-focused sessions as part of academic conferences around 2015. In September 2016, Mort joined as Lecturer in within the Department of English and Manchester Writing School, focusing on and related genres. She advanced to and subsequently to of at the same university, where her responsibilities include mentoring students and integrating her expertise in place-based and psychogeographic writing into the . Prior to these academic appointments, Mort accumulated over a decade of experience teaching through affiliations with institutions such as the and Oxford University, primarily via workshops and short programs rather than permanent roles. Her teaching emphasizes practical skill development in and , drawing from her own publications and residencies.

Research and Contributions to Creative Writing

Mort's doctoral research examined the intersections between and contemporary , positing that poetic practices can illuminate neural processes of connection-making. Completed in 2014 at the , her PhD thesis, titled ‘Something else, then something else again’: and connection-making in contemporary , frames a between scientific models of cognition—such as and extended mind theory—and poetic techniques that challenge bounded notions of the . By analyzing works from poets including and Sean O'Brien, the study argues for 's capacity to model embodied, relational cognition, contributing to scholarship by demonstrating how empirical insights from can inform interpretive frameworks without reducing artistic output to . In subsequent publications, has advanced the application of poetry within interdisciplinary research methodologies. Her 2020 co-authored article "Poetry as method – trying to see the world differently," published in the peer-reviewed journal Research for All, draws on collaborative projects like the Imagine initiative in to illustrate poetry's utility in generating alternative epistemologies. The piece, co-written with Elizabeth Hoult, Kate Pahl, and Zanib Rasool, contends that poetic inquiry enables researchers to disrupt conventional data hierarchies, fostering inclusive, sensory-based knowledge production particularly in community settings with marginalized voices. This work extends creative writing's theoretical scope by positioning verse not merely as an output but as a rigorous analytical tool, evidenced through examples of co-created poems that reveal hidden social dynamics. Mort's research interests further encompass place writing and , informing her explorations of how environmental and spatial contexts shape narrative and poetic form. As articulated in her academic profile, these foci underpin analyses of and , where she interrogates themes of embodiment and locale to anthropocentric assumptions in creative practice. Her contributions thus bridge empirical observation with artistic , emphasizing causal links between and textual structure without privileging unsubstantiated interpretive lenses. Through freelance mentoring and facilitation—activities spanning over a —Mort disseminates these insights, though her formal outputs prioritize verifiable scholarly dialogue over anecdotal pedagogy.

Climbing and Outdoor Activities

Personal Experiences in Mountaineering

Helen Mort's introduction to mountaineering began in early childhood through family outings with her father. From the age of three, she walked extensively in the , including completing the 13-mile Kentmere Round at four or five years old. As a teenager, she advanced to climbing Scottish Munros alongside her father, which fostered a deeper passion for the activity. This familial connection to mountains, particularly in the and , shaped her early experiences. Mort progressed to and on Derbyshire crags, including edges like Stanage and Burbage. Her adventures extended internationally, encompassing crossings and navigation in . These pursuits highlighted her affinity for risk and wild landscapes, often integrated with running in the . Following the birth of her son Alfie in December 2018, Mort's experiences evolved amid heightened awareness of personal vulnerability. In early , three months pregnant, she scaled a but proceeded with intense caution, gripped by guilt over potential stumbles and falls. She carried her infant son to a summit during a family trip that year. To manage postnatal anxiety, she undertook incremental challenges, such as extending walks at . From her son's early months, she introduced him to outdoor sites like Burbage Edge and local climbing walls, aiming to share the joys of climbing while grappling with its inherent dangers, intensified by events like Tom Ballard's 2019 on .

Influence on Creative Output

Mort's engagement with climbing permeates her , providing both literal subject matter and metaphorical frameworks for exploring physical and emotional landscapes. In her 2016 collection No Map Could Show Them, several poems immerse readers in scenarios, depicting routes and crags such as those in , Black Rocks, , , and the European Alps, which evoke the tactile demands of ascent and the psychological intensity of exposure. These works demonstrate a contemplative purity, using to symbolize navigation through uncertainty and the body's dialogue with terrain. Climbing experiences directly inspire individual poems, as seen in "Kalymnos," where Mort draws from her first visit to the Greek island's crags to capture the exhaustion and transcendence of repeated ascents, likening the climber's fatigue to a merging with the rock itself. Similarly, "The Climb" begins with the physicality of muscle tension on a Langdale valley edge, extending into broader reflections on vulnerability and environmental immersion. Mort has noted that poetry emerges from movement—akin to climbing's dynamic flow—contrasting with the stillness required for prose, allowing her verse to mirror the rhythm of ropes, holds, and belays. In , climbing shapes Mort's explorations of and history, particularly in A Line Above the Sky: On Mountains and Motherhood (2022), where she interweaves personal ascents with narratives of pioneering mountaineers, addressing risks, trust, and bodily agency in male-dominated terrains. This work highlights climbing's role in challenging traditional accounts, offering a female-centric lens on endurance and legacy that differs from predominantly male-authored literature. Mort identifies parallels between the disciplines, viewing both and climbing as "instructions for the body or the voice," fostering themes of , pattern recognition, and embodied risk across her output.

Personal Life

Family and Relationships

Helen Mort was born in on 27 February 1985 and grew up in , during the era of the miners' strikes, which shaped her family's working-class background and access to state education. Her mother read to her frequently from early childhood, instilling a love for the sounds of language. Her father introduced her to outdoor pursuits by taking her on walks in the from the age of three, encouraging her interest in hills and climbing, and read her poets such as . Mort became a parent in 2019, giving birth to her first son when he was two months old that year, an event that coincided with her reflections on mountaineering families following the death of climber Tom Ballard. She has described comparing the challenges of parenting gatherings in to the relative familiarity of expeditions, such as one to . No public details are available regarding a or partner.

Encounters with Personal Challenges

In November 2021, Helen Mort's father suffered two life-altering strokes shortly after climbing , Derbyshire's highest hill, prompting her to document the emotional and physical aftermath in her 2024 poetry collection Dad vs. Dad. The work explores themes of loss, adaptation, and the contrast between her father's pre- and post-stroke identities, drawing on erasure poetry techniques to reflect the fragmentation of memory and capability. Around the same period, Mort's mother received a of a degenerative condition that progressively impaired her , influencing Mort's reflections on familial resilience and the limits of physical agency in her writing. Mort has described motherhood as a profound personal challenge, particularly in reconciling it with her identity as a climber and outdoor enthusiast following the birth of her son in 2019. She hid her from fellow climbers to avoid anticipated judgment, scaling a at three months pregnant while grappling with heightened physical risks and guilt. Postpartum recovery involved struggles and efforts to regain fitness for activities like and climbing, which she addressed by setting smaller, achievable goals amid the demands of a . These experiences informed her 2022 A Line Above the Sky, where she examines the tensions between maternal vulnerability and the adrenaline-driven autonomy of . In July 2025, Mort's partner—the father of her six-year-old son—suffered a , adding further strain as the family navigated hospitalization and recovery, which she chronicled in personal essays reflecting on intergenerational patterns of health crises. These events underscore recurring themes in Mort's work of confronting bodily fragility against a backdrop of outdoor , without evidence of her own chronic health conditions.

Reception and Legacy

Awards and Recognitions

Mort has received multiple accolades for her poetry. She won the Foyle Young Poets of the Year Award on five occasions during her youth. In 2007, she was awarded the Eric Gregory Award by the Society of Authors, recognizing emerging poets under 30. The following year, in 2008, she received the Young Writer Prize. Her debut collection, Division Street (2013), earned shortlistings for the and the Costa Book Award for . It also won the Fenton Aldeburgh First Collection Prize in 2014. That same year, Mort was selected as one of the Poetry Book Society's Next Generation Poets, highlighting 20 poets expected to shape British over the next decade. In 2022, Mort was shortlisted for the Forward Prize for Best Collection alongside Kim Moore. For her nonfiction work A Line Above the Sky: On Mountains and Motherhood (2022), she shared the Boardman Tasker Prize for Mountain Literature with Brian Hall, an award for outstanding works on .

Critical Assessments and Viewpoints

Mort's poetry collections have elicited praise for their vivid evocation of Northern English landscapes and the visceral interplay between human vulnerability and physical exertion, particularly in contexts. Reviewers have commended her ability to weave personal introspection with environmental detail, as seen in Division Street (2013), where the work's fresh stylistic approach captures Sheffield's socio-economic textures, though critics noted an occasional melancholy that borders on unsubstantiated sentimentality without deeper causal anchors for grief. Similarly, No Map Could Show Them (2016) draws acclaim for reclaiming female narratives in history, employing metaphors that underscore the intimate, embodied bond between women and terrain, thereby challenging male-centric traditions in outdoor literature. Her debut novel Black Car Burning (2019) garnered positive assessments for its taut structure and thematic depth, portraying trauma's lingering effects through characters navigating Sheffield's urban grit and adjacent wilds; one review characterized it as an evocative debut that probes trust's fragility amid personal and collective scars, such as those from the . Critics appreciated the novel's departure from conventional plotting, favoring poetic fragmentation to mirror psychological disorientation, though some observed its austerity demands reader investment in understated emotional cues. Subsequent poetry, including The Illustrated Woman (2022), has been lauded for its precise, indelible imagery—likened to tattoos etched with restraint—exploring bodily and relational intimacies without excess, as in depictions of familial caregiving amid illness. Viewpoints on Mort's oeuvre frequently highlight her interdisciplinary fusion of neuroscience-informed patterns with sensory landscapes, as evidenced in projects like The Singing Glacier (), where concise observations yield "bitesized wonders" attuned to sonic and glacial phenomena, extending her thematic interest in perception's limits. Overall, assessments position her as a generational standout for grounding abstract emotion in empirical terrain and motion, though some critique risks superficial when personal reflection eclipses rigorous causal linkage to broader realities.

Impact and Ongoing Developments

Mort's memoir A Line Above the Sky: On Mountains and Motherhood (2022) has exerted influence on mountaineering literature by examining the intersections of risk, wildness, and family life, particularly through the lens of female experiences in climbing. The work received the Boardman Tasker Prize for Mountain Literature in 2022 (joint winner), the Jon Whyte Award in 2023, and the Grand Prize at the Banff Mountain Book Competition in 2023, with jurors commending its poetic eloquence, humility, and ability to evoke universal themes of vulnerability and exhilaration. These accolades underscore her contribution to a of introspective mountain writing, drawing parallels to earlier women pioneers while addressing modern critiques of maternal risk-taking in outdoor pursuits. Her poetry collections, including Division Street (2013) and No Map Could Show Them (2016), have impacted by integrating themes of , embodiment, and female agency in , with critics noting their "sure-footed purity" and immersive quality in portraying climbers' physical and psychological states. Mort's broader oeuvre bridges literary and communities, inspiring discussions on and women's historical exclusion from high-altitude narratives, as evidenced by her focus on early female mountaineers. As of 2025, Mort continues her role as Professor of Creative Writing at Manchester Metropolitan University, where she has served since 2016, influencing emerging writers through teaching and external examining at institutions like the University of Huddersfield and St Andrews University. Recent projects include curating the "Landscapes of Change" exhibition for Manchester Poetry Library in June 2024, which merged poetry with climate data visualizations to highlight environmental shifts. In November 2024, she contributed to activism efforts by writing on gaslighting as a precursor to physical violence against women, extending her thematic concerns with embodiment and societal pressures. Upcoming engagements feature a collaborative event, "Writing Sports Day," on June 14, 2025, focused on sports literature and female climbers. These activities reflect her sustained output in blending personal narrative with public discourse on risk, gender, and nature.

References

  1. https://www.helenmort.com/
  2. https://rsliterature.org/fellows/helen-mort/
  3. https://www.mmu.ac.uk/staff/profile/professor-helen-mort
  4. https://granta.com/interview-helen-mort/
  5. https://poetryarchive.org/poet/helen-mort/
  6. https://www.highpeakarts.org/5723-2/
  7. https://poetryschool.com/interviews/poetry-brain-interview-helen-mort/
  8. https://forwardartsfoundation.org/in-conversation-with-helen-mort/
  9. https://www.poetryinternational.com/en/poets-poems/poets/poet/102-12849_Mort
  10. https://nowthenmagazine.com/articles/helen-mort-a-line-above-the-sky-q-a-festival-of-debate-2022
  11. https://etheses.whiterose.ac.uk/id/eprint/9449/1/Helen%2520Mort%2520PhD%2520thesis.pdf
  12. https://www.penguin.co.uk/authors/228407/helen-mort
  13. https://www.rcwlitagency.com/authors/helen-mort/
  14. https://www.poetryfoundation.org/poets/helen-mort
  15. https://www.penguin.co.uk/books/440259/the-illustrated-woman-by-mort-helen/9781784743222
  16. https://www.theguardian.com/books/2019/apr/25/black-car-burning-by-helen-mort-review
  17. https://www.helenmort.com/read/black-car-burning
  18. https://www.helenmort.com/read/exire
  19. https://www.amazon.com/Exire-Helen-Mort-author/dp/1903110599
  20. https://www.amazon.com/A-Line-Above-the-Sky/dp/1529107792
  21. https://www.helenmort.com/whatido
  22. https://www.oca.ac.uk/weareoca/creative-writing/voices-unheard/
  23. https://www.theguardian.com/books/2013/nov/24/division-street-helen-mort-review
  24. https://www.penguin.co.uk/books/413042/division-street-by-helen-mort/9780701186845
  25. https://thelondonmagazine.org/no-map-show-helen-mort/
  26. https://www.goodreads.com/book/show/26210519-no-map-could-show-them
  27. https://writingverbaboutwritingnoun.wordpress.com/2019/02/09/poetry-commentary-scale-by-helen-mort/
  28. https://www.helenmort.com/read/the-illustrated-woman
  29. https://www.theguardian.com/books/2022/jul/05/the-illustrated-woman-by-helen-mort-verse-as-indelible-as-tattoos
  30. https://wendypratt.substack.com/p/i-see-all-the-things-we-write-and
  31. https://www.versopolis.com/poet/125/helen-mort
  32. https://www.londonreviewbookshop.co.uk/blog/2015/august/helen-mort-on-poetry-and-prose
  33. https://roymarshall.wordpress.com/2016/10/24/helen-morts-no-map-could-show-them/
  34. https://alumni.christs.cam.ac.uk/helen-mort
  35. https://bams.ac.uk/2015/11/04/keynote-speakers-and-poetry-workshop-confirmed-sensory-modernisms-2/
  36. https://www.mmu.ac.uk/about-us/faculties/arts-humanities/schools/english/writing-school/staff
  37. https://mmu.academia.edu/HelenMort
  38. https://haus-fuer-poesie.org/en/program/writing-sports-day-helen-mort-endre-ruset
  39. https://www.thegreatoutdoorsmag.com/inspiration-and-ideas/helen-mort-i-wanted-to-explore-the-joy-and-the-fearfulness-of-mountains-in-families/
  40. https://www.sundaypost.com/fp/of-mountains-and-motherhood-writer-asks-why-adventuring-mums-have-to-endure-much-more-criticism/
  41. https://www.caughtbytheriver.net/2019/12/shadows-and-reflections-helen-mort/
  42. https://www.ukclimbing.com/articles/in_focus/helen_mort_-_no_map_could_show_them-8937
  43. https://alpinist.com/features/poetry-feature-kalymnos/
  44. https://www.johnmuirtrust.org/whats-new/news/57-wild-words-the-climb-by-helen-mort
  45. https://www.caughtbytheriver.net/2022/03/a-line-above-the-sky-kerri-ni-dochartaigh-review/
  46. https://londongrip.co.uk/2024/01/a-terrain-of-their-own/
  47. https://www.youtube.com/watch?v=nc-7n4_zIwU
  48. https://helenmort.substack.com/p/dad-vs-dad-erasure-as-a-place
  49. https://www.barnesandnoble.com/w/dad-vs-dad-helen-mort/1147984475
  50. https://www.toughgirlchallenges.com/single-post/_mort
  51. https://helenmort.substack.com/p/things-im-no-longer-interested-in
  52. https://tseliot.com/prize/person/helen-mort/
  53. https://www.penguinrandomhouse.com/authors/180834/helen-mort/
  54. https://www.theguardian.com/books/booksblog/2014/nov/07/helen-mort-first-prize-aldeburgh-poetry-festival
  55. https://poems.poetrysociety.org.uk/poets/helen-mort/
  56. https://www.mmu.ac.uk/news-and-events/news/story/helen-mort-and-kim-moore-shortlisted-top-uk-poetry-prize
  57. http://www.boardmantasker.com/news/2023/11/10/joint-winners-2022-helen-mort-and-brian-hall-reflect-on-the-boardman-tasker-award
  58. https://www.newstatesman.com/culture/2019/05/black-car-burning-helen-mort-debut-novel-review-poet
  59. https://www.ninaallan.co.uk/?p=3647
  60. https://londongrip.co.uk/2024/09/london-grip-poetry-review-helen-mort-2/
  61. https://poetryschool.com/reviews/review-the-singing-glacier-by-helen-mort/
  62. https://www.banffcentre.ca/articles/banff-mountain-book-competition-announces-2023-grand-prize-winner
  63. https://www.instagram.com/p/CzcCfJ0M7OZ/
  64. https://helenmort.substack.com/p/field-notes
  65. https://aah-magazine.co.uk/2024/16-days-of-activism-award-winning-poet-helen-mort-on-gaslighting-we-need-to-look-at-the-violence-that-happens-before-physical-violence/
  66. https://www.helenmort.com/news
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