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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

In ‘Like an Heiress,’ the speaker describes a return to the Atlantic shoreline – a place of deep personal memory and ancestral connection. She imagines herself as an “heiress,” drawn to the sea as if to inherited jewels, evoking nostalgia and reverence. Yet this romanticised return is undercut by the image of a polluted beach strewn with rubbish: tyres, bottles, and cups – detritus returned by the ocean in defiance of human carelessness. The sea is now a mirror reflecting degradation. The speaker stands alone, “undisturbed,” in the glaring sunlight, caught between reverence and grief.

The tension between natural grandeur and ecological collapse continues as the speaker, overwhelmed by the heat and symbolism, returns like a “tourist” to her hotel. There, in air-conditioned comfort, she contemplates the fate of the planet and the fleetingness of time. The poem’s tone is elegiac but alert; it is both a lament and a warning. Nichols explores how diasporic return is emotionally and environmentally fraught. Ultimately, the poem asks what it means to return ‘home’ when home itself is in decline.

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