Few women poets have been more comprehensively lost to posterity than Carla Lanyon Lanyon (1906–1971). Born into a Unionist establishment family in County Down, Lanyon Lanyon published prolifically, and with The Crag (1935) and Full Circle (1938) her work became more experimental, antagonising reviewers and placing it at odds with the regionalist aesthetic then evolving in Northern Ireland, not to mention that of the Free State. Her matrilinear affiliations and failure to relate to Irish locales in appropriative-territorial terms place her at odds equally with the male-centred discourses of nationalism and unionism alike, particularly as these discourses have been developed and conceptualised since the outbreak of the Troubles. Nevertheless, her lack of connections to international modernist circles deprived her of a wider international audience, leaving her work in the limbo from which it is only now emerging. Reading her today we discover an important missing link in the story of Irish women’s poetry, rooted in a poetics of earthly connection and geophany.