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‘A Century Later’ by Imtiaz Dharker

‘A Portable Paradise’ by Roger Robinson

‘A Wider View’ by Seni Seneviratne

‘England in 1819’ by Percy Bysshe Shelley

‘In a London Drawingroom’ by George Eliot

‘Like an Heiress’ by Grace Nichols

‘Lines Written in Early Spring’ by William Wordsworth

‘Name Journeys’ by Raman Mundair

‘On an Afternoon Train from Purley to Victoria’ by James Berry

‘Shall Earth no More Inspire Thee’ by Emily Brontë

‘The Jewellery Maker’ by Louisa Adjoa Parker

‘With Birds You’re Never Lonely’ by Raymond Antrobus

A Portable Paradise reflects on the wisdom passed down from the speaker’s grandmother, who advises him to carry “paradise” with him always. This paradise is not literal but symbolic – a spiritual or emotional refuge that can be recalled when needed. The speaker describes the act of keeping this inner paradise concealed, as a protection from a world that may try to strip away joy or peace. When under pressure or in hardship, the poem suggests accessing this inner sanctuary through sensory memory – feeling, smelling, and remembering the paradise carried within. In solitude, the speaker unpacks this memory in full, visualising white sands, green hills, and fresh fish as a restorative act.

The poem elevates the domestic wisdom of a grandmother into a philosophy of survival. Paradise, is not otherworldly or abstract but rooted in lived experience, sensory recollection, and cultural inheritance. It offers a strategy of self-preservation and inner strength amidst sustained daily stress. The poem thus portrays paradise as a mental and emotional space cultivated by love, memory, and imagination – a portable, pocket-sized, potent form of hope.

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