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Helen Mort was born in Sheffield in 1985, and grew up in nearby Chesterfield. Five times winner of the Foyle Young Poets Award, she received an Eric Gregory Award in 2007 and won the Manchester Young Writer Prize in 2008. Her first collection, Division Street (2013), was shortlisted for the T.S. Eliot Prize and Costa Poetry Award, and won the Fenton Aldeburgh First Collection Prize. In 2014, she was named as a 'Next Generation Poet', the prestigious accolade announced only once every ten years, recognising the 20 most exciting new poets from the UK and Ireland. No Map Could Show Them (2016), her second collection, about women and mountaineering, was a Poetry Book Society Recommendation. Helen has been the Wordsworth Trust Poet in Residence and the Derbyshire Poet Laureate and was named one of the RSL's 40 under 40 Fellows in 2018. She is a Lecturer in Creative Writing at Manchester Metropolitan University and lives in Sheffield. Black Car Burning was her first novel, and A Line Above the Sky is her first work of narrative memoir.
A love letter to [Mort's] home city of Sheffield... Politics and landscape are fiercely intertwined in the history of South Yorkshire, and Mort now demonstrates that she can write as assuredly on both subjects in novel form as in her poetry... Mort, in a beautifully accomplished debut, has blended a rich alloy: a deeply felt work of loss, time and healing -- Catherine Taylor * The Guardian * Black Car Burning explores the ties that bind us: literally, while strung across a cliff face in high winds, or figuratively in the tenuous bonds that hold both relationships and communities together, and which we are all responsible for maintaining. It's especially gratifying to inhabit a female-focused world within a climbing scene still party defined by machismo and male bravado. Helen Mort's writing is confident and compassionate and this is a mature and evocative debut -- Ben Myers * New Statesman * Mort has reined in the poetry to write a gritty northern novel in a lean, unflashy prose, only letting herself go in lyrical interludes spoken by the landscape itself -- Phil Baker * Sunday Times * Bold, imaginative…intensely realistic, swarming with minute physical and social detail… Mort writes brilliantly about the physical presence of the city, and she deals just as well with the tight focus of the climb... [Black Car Burning] is frequently exhilarating in its accurate sympathy, with some inch-perfect dialogue and astute observation throughout… Poet writes gripping novel: now there’s something you don’t hear every day -- Sean O'Brien * Times Literary Supplement * An impressive, Sheffield-set tale… the disparate voices are held together by short passages in which the landscape itself is given voice. These act as welcome poetic rocks in the stream of the narrative… [and] are startling reminders of Mort’s considerable poetic skill -- Jude Cook * Spectator *
