A commission for the Barbican Gallery's exhibition Lee Krasner: Living Colour. Photo: Catarina Rodrigues
I am a poet based in London, working and performing across the UK
My debut pamphlet, He Said I Was a Peach, is available to buy from ignitionpress, part of the Oxford Brookes Poetry Centre. 
My editor, Niall Munro, interviewed me about the pamphlet. Listen here.
'Appetit' won the Open category of the Oxford Brookes International Poetry Competition 2020, judged by Fiona Benson.  You can read the poem here.
I am an alum of the Barbican Young Poets and The Writing Squad.
Since graduating with a BA in Classics, I have facilitated lectures, talks and poetry workshops for schools and institutions, notably for UCL and Durham University.  I have led workshops with young people about the story and fragments of Sappho. 
My work has been published online in bath magg, and in print in Modern Poetry in Translation, Popshot, Magma and anthologies from Bloodaxe and Macmillan.  My poems have been illustrated by Aistė Stancikaitė and Lily Arnold, and have been set to music by Athanasia Kontou, Rebecca Nisco, Jack Selby and others.  
Praise for He Said I Was a Peach
These are breathtaking poems of a strange, deep glamour; their imagery is uncompromising, and their music utterly original. Byford composes on a scale that is entirely her own. She has a preternatural ability to capture other worlds, other Umwelten – Thetis hearing her son’s voice as 'a warm strain / softening the frozen kelp / like piss', or the shuttling dislocations of Arachne – 'weft thin / softning'. These poems return to sites of trauma or eroticism or myth in a way that renders them immediate, dangerous, and unstable; but there is a beautiful act of salvage here. The world is sifted for its stains, blisters and residues, its sensual drives, and the sticky fingers of human longing. Byford is a reckoning, an uncanny and ferocious rising star. 
Photo: Steve Dearden
Photo: Steve Dearden
Photo: Catarina Rodrigues
Photo: Catarina Rodrigues
Photo: Oliver Goodrich
Photo: Oliver Goodrich
recent News 
•I have been selected for The London Library's Emerging Writers Programme 2022/23.  I will use the year-long opportunity to continue work on my long poem/poetry series about bats.
•I performed poetry at the 2022 Classical Association conference on 9th April 2022, hosted by Swansea University. 
•Three sections from a longer poem, 'Index Patient', have been published in Issue 8 of bath magg.  I am still in the process of writing the full poem, in which I hope to intertwine the themes of pandemic, isolation, conservation, patriarchal violence and bats.
•My latest cross-disciplinary project, THE STYX, has secured a project grant from Arts Council England.  The artist film represents a collaboration with composer Athanasia Kontou and soprano/performer Helene Mathiesen, and seeks to reframe the narrative around trauma towards the possibility of healing, through the myth of Persephone's journey to the Underworld.  The project combines poetry, opera and film, and our co-partners are Medusa Collective, The Writing Squad and PTSD UK.
• This summer, composer Rebecca Nisco set three of my poems to classical music, to create The Mannequin Set.  These were performed at the Royal College of Music on 12 July by soprano Catherine Hooper, tenor Harry Grigg and pianist Emily Hoh.  Listen to moments from their performances here (and below).​​​​​​​
Photo: Catarina Rodrigues
Photo: Catarina Rodrigues
Illustration by Aistė Stancikaitė. Courtesy of Popshot
Illustration by Aistė Stancikaitė. Courtesy of Popshot
past highlights
In March I took part in a UCL lecture to discuss my translation of Sappho's 'Hymn to Aphrodite', published in Modern Poetry in Translation in 2020.
My poem 'Appetit, for Persephone' was awarded first place in the open section of the 2020 Oxford Brookes International Poetry Competition.  Judge Fiona Benson described the poem as "a strange and wondrous haunting".  You can read the poem here, along with the other winning and commended poems. 
My translation of Sappho's 'Hymn to Aphrodite' was published in the Dead [Women] Poets Society takeover edition of Modern Poetry in Translation.  The issue, entitled 'Origins of the Fire Emoji', was published in November 2020.​​​​​​​
Photo: Steve Dearden
Photo: Steve Dearden
Photo: Steve Dearden
Photo: Steve Dearden
In February I read poetry and joined in discussion of women and poetry, alongside poet Nikita Gill and anthologist Ana Sampson. The evening, which took place at Southlands Arts Centre, celebrated the release of the anthology 'She Is Fierce: brave, bold and beautiful poems by women' (Macmillan UK).
In March I performed poetry at the Houses of Parliament as part of the APPG for poetry. The group was established in 2019 to focus the efforts of MPs and peers in supporting the growth and development of poetry opportunities in the UK.
In May, I delivered workshops at the Barbican as part of their Artist and the Machine Day, a celebration of the opening of the exhibition AI: More Than Human.  The workshops explored themes of automation and humanity through Dada poetry techniques.
In July I performed poetry in the Barbican Gallery as part of a Young Barbican Night celebrating the feminist contemporary artist Lee Krasner and the Barbican's exhibition of her artworks. ​​​​​​​
A songwriting collaboration between myself and composer Athanasia Kontou came to fruition in a concert at Manchester's Royal Northern College of Music in June. The song, 'Odysseus/Penelope', was performed at by pianist Brian Low and vocalist Lucy Temby. Listen to the recording here (and below).​​​​​​​​​​​
Use the form below to get in touch, and follow me on Twitter and Instagram for latest updates.
I'll get back to you as soon as possible - k.m.r.
Back to Top