Liquorice Woman

by Angie Spoto

I am a liquorice woman 
a fennel creature 
a saffron thing that doesn’t care 
for your opinions or your thoughts on the matter 
or your advice to me because I’m not asking 
I’m just here reading 
and that doesn’t mean I want to talk 
it doesn’t mean I want you in my ear 
or your fingernail running rogue 
across the grains here 
at the table in this low-lit 
pub where 
let me repeat myself 
I’m just reading 
reading by myself here 
and running a grain of fennel 
around my teeth 
crushing it between molars 
and flicking it across my 
two incisors and telling you again 
look I’m just reading. 

Did you know 
I’m a liquorice woman? 
I’m a pepper thing 
I’m a girl with cardamom 
stuck between her teeth 
and let me say this one more time: 

Angie Spoto is an American fiction writer and poet. Writers who inspire her include Angela Carter, Leonora Carrington, and Ursula Le Guin. Her most recent endeavours include a lyrical essay about her Italian family, a collection of horror surrealist fairy tales, and a fantasy novel about grief. She is working toward a PhD in Creative Writing at the University of Glasgow and volunteers with the Glasgow-based social enterprise Uncovered Artistry, which supports the creativity of domestic and sexual abuse survivors. She is Artist in Residence at HIV Scotland. Her work has appeared in numerous anthologies, including Crooked Holster, From Glasgow to Saturn, and Toad Suck Review.

This poem was first published in Issue 38, the rest of which can be read in our archive.


Writing Advice from Siam Hatzaw

Siam’s poem ‘October Skies’ was published in Issue 44, which can be read here. In this video Siam gives some great tips to help get you writing when you’re feeling stuck. How can Twitter bots, Google translate, and Ancient Hebrew come in handy? Watch the video to find out…

Siam Hatzaw is a recent graduate of English Literature and Theology. She enjoys working in both prose and poetic forms, and has been published in Life On A Dead Tree, Loud Women Magazine, and The Shiloh Project, among others. She is the content coordinator for Glasgow University Magazine, features editor for The Glasgow Guardian, and prose and poetry editor for Persephone’s Daughters, an arts and literature journal dedicated to empowering survivors of trauma and abuse.

“Loosen up the restrictions a little bit”

An Interview with Ryan Vance


I need love like a microwave
to turn me inside out
as popcorn in slow-motion:
cracked kernel curves unfolding
for easy sustenance
good health

I don’t care if I burn
some people like charcoal

but I want expansion
and yield
an application of heat
in close quarters
lest I, hard and shiny,
not yet tender and exploded
crack a smile

when at long last
with an open hand
curled at the tips
to stop my spill

we ping

and I’ll know I’m ready

still waiting for my salt
still waiting for my sweet
hot butter

This poem was first published in Issue 37, which can be read in our archive.

Ryan Vance is a writer, editor, designer and general literary busybody, with a penchant for speculative fiction and queer representation, based in Glasgow, Scotland. Occasionally dabbles with photography and gaming, and continually pines for the perfect dancefloor.

FGTS: Ryan you recently published a digital pamphlet of poetry and short fiction called Minor Mishaps and you are working on your first full collection, One Man’s Trash. Where does writing start for you? What moves you to write?

Ryan: For me, writing begins at the end – knowing that when you send something creative out into the world, you’re setting up a moment of connection. We all hold these vast private universes inside ourselves, and for the most part our star-maps align, and that’s great, it’s reassuring. But every so often we discover constellations completely unknown, and exploring those uncharted territories can be intimidating and lonely. If you come out the other side with a story to tell, there’s a chance someone listening might say, hey, actually, I’ve been there too – and then this anomaly you thought nobody would ever be able to explain becomes a shared resonance. Being able to create that instant of discovery is really special.

Which is a fancy long-winded way of saying: I crave validation!

You are also an editor, working on Gutter, We Were Always Here, and The Queen’s Head. All of these projects have been rooted in Glasgow, and Scotland more widely, is there anything you think characterises contemporary Scottish or Glaswegian writing?

This is a difficult question for me to answer, because even though Scotland is where I began taking writing seriously, and all my projects have grown from the Scottish writing community, and I’ve lived my entire adult life in Glasgow… I’m not Scottish. I’m Northern Irish. Even though I would accept Scottish nationality in a split second, I know I don’t share the deep cultural roots which would afford me the validity to say anything conclusive on what characterises Scottish writing, contemporary or otherwise. 

What this status does allow me, however, is a small degree of perspective on how open Scottish culture is to outsiders – and it’s a mixed bag. There’s this pervasive idea that Scotland aspires to be a progressive utopia, and compared to other parts of the UK it’s easy to assume that’s been achieved, but I don’t personally believe we’re even close to celebrating any degree of inclusivity. And as a cis, white, able-bodied, university-educated man, I know I only see the most surface-level effect of exclusion; cleverer people than I, from much more diverse backgrounds, will have more in-depth perspectives on the nuances of cultural exclusion in Scotland. And among communities who do experience discrimination, a conviction persists that change for the better isn’t just possible, but imminent, and worth fighting for. To quote Refuweegee, we’re all fae somewhere. That optimistic, unquenchable solidarity with the wider world feels uniquely Scottish. But the higher you climb through cultural institutions, the more often that openness butts heads with a more conservative idea of Scotland, the more gatekeepers you encounter. And Scotland’s a small country. There aren’t that many gates to keep. But there’s plenty of gatekeepers.

So if there’s one thing that feels particularly remarkable about contemporary Scottish writing, it’s a willingness to recognise the complexity of identity, but it’s a willingness often undercut by the structures that writing exists within, or in spite of. I will say this, though: I think we’re on the cusp of discovering how truly open the Scottish writing community is interested in becoming. There are so many Scottish writers, native or adopted, who previously found it difficult to be heard because of who they were, or where they came from, and personally, I can’t fucking wait for them to storm the gates and take over the castle. It’s long overdue.

What have you been reading recently, and what excites you in new writing these days?

Lately, if you want me to get excited about writing, it has to be done and over with quickly. I love a short, dense book. And I’ve surprised myself by getting very into Joseph Hansen. I’ve never been fond of crime as a genre; for my tastes, it’s too reliant on unflinching realism, brittle understandings of law, and copious dead girls. Which I realise is an unfair generalisation, and one which Hansen disproves with his Dave Brandstetter Mysteries. They follow the exploits of a wealthy, masculine, straight-passing, gay private detective, from the tail end of the 60s through to the beginning of the 90s, with a homophobic father and, eventually, a younger femme black boyfriend, investigating death claims in and around Los Angeles, with the express purpose of withholding money from the recently bereaved, because murder means his company’s insurance policy doesn’t have to pay out. Dave Brandstetter’s a character who can effortlessly navigate nearly every strata of society, during a time when civil rights are going through major upheaval, and he’s unerringly sympathetic to that upheaval, but in order to do his job, by default he has to be the most-hated person in any room. It’s a brilliant example of what crime does best: the interrogation of privilege, power, and the limits of each when faced with the demands of humanism.

Your writing is often involved with queerness and the speculative, how do these two things interact with each other?

How don’t they interact with each other! 

Speculative fiction is about allowing ideas to exist in their own right, whether or not they can be explained by commonly accepted wisdom or understanding, and exploring what happens when you accept those ideas on their own terms, letting them lead you where they want to go, not where you think they should, and trusting that those ideas are able to wholly comprehend themselves and their own internal systems of logic, and then embracing whatever consequences and discoveries that ensue with an open mind.

Queerness is exactly the same, only replace ‘ideas’ with ‘people’.

FGTS published your two poems ‘Show Offs’ and ‘Crackerjack’ in issue 37, do you remember what led into the making of these pieces?

Full disclosure? They’re not that deep. The idea behind ‘Show Offs’ is entirely on the page, which almost disqualifies it as poetry. For ‘Crackerjack’, I watched a super-slow-motion video of a popcorn kernel popping on YouTube and was mesmerised by the beautiful fluid motion of this transformation that, in real-time, is quite violent, and at the time it reflected what I thought love should feel like. For all my high-falutin’ ideas of what drives artists to create, and the multifaceted personal, social and political changes that can come from art, a lot of the art I actually enjoy making lacks finesse. Sometimes you just need to go cartwheel in the grass.

Finally, is there something from your time at the University of Glasgow that you hold onto and continues to inform your writing practice today?

Technical fluency in the Adobe Suite. I didn’t write much fiction during my university days, but I did hold an editorial position on the student newspaper for three years, and because we didn’t have a dedicated designer, every editor was responsible for the layout of their section. It’s a different way of approaching communication, of looking at the world, and of prioritising information. I don’t think even I’m aware of how thoroughly that experience informed my creative process, apart from perhaps being less precious about individual words and more focused on the overall impact of a piece. Years of trying to force florid copy into a finite amount of column space means my editing style can be quite blunt!

‘I think we’re on the cusp of discovering how truly open the Scottish writing community is interested in becoming.’ – Ryan Vance

Call for Submissions

We are now accepting submissions for our next issue! Send us your poetry, prose, and hybrid forms by July 10th, 2020, and your art and photography by July 17th, 2020. There is no theme!

Please check our submission guidelines. Submissions will be considered from University of Glasgow students, alumni, staff, and academics.

All submissions and any queries emailed to


Call For Submissions

We are now accepting submissions for our next issue! 

Send your poetry, prose, hybrid forms and weird text-y creations to us. Deadline for general submissions is January 15th!

We are also looking to feature more visual art of all kinds, with a later deadline of January 22nd. 

Please check submission guidelines. Submissions will be considered from University of Glasgow students, alumni, staff, and academics.

All submissions and any queries emailed to



Call For Editors

We are now accepting applications for a new editorial team! For more information on how to apply see the flyer below. If you have any questions don’t hesitate to contact us on Facebook, Twitter, or email us at

call for editors

Issue 43 Launch Night

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Join us for the launch of Issue 43 of From Glasgow To Saturn!

Come along to Dram on October 15th – hear contributors read their work and have the chance to pick up your own copy of the newest edition hot off the presses.

The event is free and starts at 8pm, everyone welcome.

RSVP to our Facebook event to let us know you’ll be there and spread the word.

See you soon for a fabulous evening of new writing!

Submissions Open!

subs poster

From Glasgow to Saturn is now accepting submissions for Issue 43, which will be published this autumn.

We’re looking for new, exciting work across a variety of genres and media, and on any theme or topic. Prose, poetry, essays, hybrid forms, as well as art and photography. Everything is welcome.

The deadline for submissions is July 10th 2019. Submissions will be considered from all University of Glasgow students, alumni, staff, and academics. All submissions and any queries should be sent to us via email at

Please follow submission guidelines, which can be found here.

Pluto Edition: Pride – Submissions

pluto site header

From Glasgow to Saturn is now accepting submissions for our debut Pluto Edition which will be published in July to coincide with Pride Month. In this new edition, we want to uplift LGBTQ+ voices from the University of Glasgow community.

We are looking for writing and visual art of all kinds from LGBTQ+ students, staff, and alumni. This could be prose, poetry, art, photography, or anything in-between. For further guidelines and formatting please see here.

All submissions and any queries should be sent to us via email at

The deadline for submissions is April 30th 2019.