Felis Catus Press

Felis Catus Press Traditionally publishing finest poetry from Nigeria

A huge CONGRATULATIONS to our new authors 🎉 🎊Congratulations 🎉 to our new authors at Felis Catus Press 🔥 FELIS CATUS PRE...
10/04/2026

A huge CONGRATULATIONS to our new authors 🎉 🎊

Congratulations 🎉
to our new authors at Felis Catus Press 🔥

FELIS CATUS PRESS is delighted to offer publication of the following manuscripts:

The Road is a Body by Ókólí Stephen ();

Holocaust by Henry Opeyemi (); and

The Psalmic Field by Ridwan Fasasi ().

These manuscripts tell stories, narrate events and describe emotions, so clearly that it feels like we experience with them.

“The Road is a Body is an enjoyable collection that takes a bold mastery of language. The metaphors are effective as much as the tales are curtailed and poetic. This is one of the few times a narrative "esque" set of poetry doesn't go too prosaic in the equipment of narration.”

“Holocaust stays true to the ambience of its titling, telling gory tales of the Nigerian current situation of insecurity, in equally gory composition of diction. The work looks to the self and the way it copes with grief and personal (and national) hurt.”

“The Psalmic Field truly brings readers to a plain field of understanding the appearance of love in grief and vice versa. It compels us to see similarities to nature, how we can break and bend, grow and glow. The poems in this collection are also really very aware of the self, questioning the self and trying to understand it.”

We can't wait to share these wonders with you...

Cheers 🥂

Felis Catus Press
(publishing finest poetry from Nigeria)

Many poets have poems. Few know how to shape them into a chapbook.Join Pamilerin Jacob as he guides you through the craf...
01/04/2026

Many poets have poems. Few know how to shape them into a chapbook.

Join Pamilerin Jacob as he guides you through the craft of intentional poetry compilation.

📅 April 18, 2026
⏰ 3PM
🔗 X SPACE

Find link in the comment box.

CHEERS 🥂

Congratulations to OKITI LITERARY for the release of their ISSUE 2.Cheers to our author, Adamu Yahuza Abdullahi , on his...
31/03/2026

Congratulations to OKITI LITERARY for the release of their ISSUE 2.

Cheers to our author, Adamu Yahuza Abdullahi , on his feature in the issue.

Go read him and other awesome poets.

Adamu Yahuza has 2 poems in the issue.

Link in comment...

Cheers 🥂

We've got enough entries,but we feel a voice is still out there that'd turn things around.It could be yours.Send that ch...
11/03/2026

We've got enough entries,
but we feel a voice is still out there that'd turn things around.

It could be yours.

Send that chapbook manuscript to [email protected]

You now have till MARCH 22 to do that.

Visit feliscatuspress.weebly.com/submit for guidelines.

CHEERS 🥂

1️⃣ Read it to a friend. Let a friend read it to you: hearing someone else read it aloud can reveal unintended rhythms o...
13/02/2026

1️⃣ Read it to a friend. Let a friend read it to you: hearing someone else read it aloud can reveal unintended rhythms or emphasis.

2️⃣ Highlight all the verbs. Weak verbs flatten a poem. Replace “was” and “had” with something sharper where possible.

3️⃣ Trim the opening. Many poems start too early. See if the real beginning is a few lines down.

4️⃣ Cut the summary lines. If you’ve already shown an emotion or event, you don’t need to explain it. Trust the image.

5️⃣ Test the poem in different fonts or layouts. A visual shift can make you notice things you overlooked.

6️⃣ Replace clichés with lived details. If you find a phrase you’ve seen a hundred times, replace it with something drawn from your own experience.

7️⃣ Check the ending for echo and connection. The last line should resonate with something earlier in the poem— even subtly— to feel complete. Gbenga Adesina calls this “Layering.”

We're excited to OPEN submission for chapbook manuscripts from February 10 to March 10, 2026.We are particularly keen to...
12/02/2026

We're excited to OPEN submission for chapbook manuscripts from February 10 to March 10, 2026.

We are particularly keen to submissions from debut, emerging and underrepresented poets.

We want works that keep the editor edgy and the readers awed.

We want your grief and mirth, your wars and love, your histories and hope.

We want those childhood memories and adult grief.

We want your typos and humanity, as we have editors schooled at the art of grooming works for excellence.

Send them all !!!

For guidelines: visit feliscatuspress.weebly.com/submit

CHEERS 🥂



1️⃣ Let silence speak. Have the speaker refuse to answer certain questions in the poem. Absences are part of voice too.2...
06/02/2026

1️⃣ Let silence speak. Have the speaker refuse to answer certain questions in the poem. Absences are part of voice too.

2️⃣ Write in a plural voice. Use “we” and speak for a group — a generation, a village, a forgotten people.

3️⃣ Let the poem rest. Put the draft away for a week. Time will make its flaws and strengths easier to see.

4️⃣ Read the poem in reverse. Start from the last line and move upward: this can reveal where the energy drops or where the logic stumbles.

5️⃣ Cut your favourite line. Sometimes the line you love most is the one that doesn’t belong. Be brave enough to let it go if it serves the poem.

a
6️⃣ Check every word’s Job. If a word isn’t pulling its weight— adding meaning, music, or image— replace or remove it.

7️⃣ Test the poem without line breaks. Write it as a block of prose to see if it still works. Then restore line breaks with more intention.

1️⃣ Write in the voice of a place. Imagine a city, a mountain, or a room speaking. What would it remember? What would it...
30/01/2026

1️⃣ Write in the voice of a place. Imagine a city, a mountain, or a room speaking. What would it remember? What would it want to forget?

2️⃣ Blend multiple voices. Let two perspectives interrupt or echo each other within a single poem, like a conversation on the page.

3️⃣ Experiment with tone. Write a sad story in a cheerful tone, or a joyful one in a restrained voice. Contrast can deepen emotional effect.

4️⃣ Write as if you are centuries old. Adopt the voice of someone who has seen the rise and fall of empires— the weight of history can alter your language.

5️⃣ Shrink your voice to a child’s. Describe something using the vocabulary and logic of a seven-year-old. Innocence changes meaning.

6️⃣ Let your cultural rhythm shape your lines. If you grew up hearing proverbs, market cries, or folk songs, let those cadences seep into your syntax.

7️⃣ Use code-switching. Slide naturally between languages or dialects if that’s part of your lived reality— it can add authenticity and texture.

8️⃣ Whisper to one person. Imagine your poem is a letter to someone specific. Even if it’s never sent, the intimacy will show.

9️⃣ Write as if the reader is dangerous. Hold back, hint, and leave clues instead of confessions. Suspense can be an emotional device.

1️⃣ Try collage poems. Pull fragments from newspapers, old diaries, or overheard conversations, and stitch them togethe...
30/01/2026

1️⃣ Try collage poems. Pull fragments from newspapers, old diaries, or overheard conversations, and stitch them together into something new.

2️⃣ Let punctuation be part of the art. An em dash can create tension; a colon can open a list like a door. Use them deliberately, not just correctly.

3️⃣ Let the stanza lengths or word counts form a pattern — a pyramid, a diamond — even if it’s subtle enough that only you know it’s there.

4️⃣ Begin with your final stanza and work your way to the first. This can produce surprising shifts in focus.

5️⃣ Make a poem without any verbs. See if you can create movement and meaning using only nouns and adjectives — the absence of action can be powerful in itself.

6️⃣ Write in the voice of an object. Let a kettle speak. Let a cracked plate narrate its own history. Objects can hold wisdom people overlook.

7️⃣ Adopt a persona. Write as someone completely unlike you— a street hawker, a river goddess, a crow. Stepping outside yourself can widen your range.

8️⃣ Switch pronouns midway. Start in “I” and end in “you” or “we.” This shift can change the reader’s relationship with the poem.

9️⃣ Try the second person fully. Writing entirely in “you” can feel intimate or accusatory, pulling the reader directly into the poem’s world.

Happy New Year 🎊
02/01/2026

Happy New Year 🎊

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