Allegory of the Navigation Canal

~ oxfordbrookesuni

Something like Blake’s daughters of Albion:
flame and shadow, the moment and the thought
set into each other, rack and pinion
against this slope of time. And time is caught
lightly between the teeth. Here on the Weald
where gypsum inculcates the groundwater
with elemental hardness, water’s held;
time is channelled through it into colour:
seams that run obliquely to the surface
mapping time in arcs through matter’s prism,
each plumbed depth explored, resplendent, poly-
chromatic like spilt oil. Time, that folly,
hollows out its cave of solipsism,
leaving earth infected with its darkness.

by James Brookes

‘Allegory of the Navigation Canal’ is copyright © James Brookes, 2015. It is reprinted from MAP: Poems After William Smith’s Geological Map, edited by Michael McKimm (Worple Press, 2015) by permission of Worple Press. Notes from Worple Press:

James Brookes grew up in rural Sussex before reading English & Creative Writing at the University of Warwick and a postgraduate degree at the College of Law. He received an Eric Gregory Award in 2009 and published a pamphlet, The English Sweats, with Pighog Press in the same year. His first collection Sins of the Leopard (Salt, 2012) was shortlisted for the Michael Murphy Memorial Award and the Dylan Thomas Prize. You can find out more about James Brookes’s work on Michelle McGrane’s poetry blog, Peony Moon, and follow him on Twitter.

MAP is a new anthology from Worple Press which celebrates the first geological map of Britain, created single-handedly 200 years ago by the engineer and geologist William Smith. Edited by Michael McKimm, this groundbreaking anthology collects new work by over thirty poets inspired by William Smith, his revolutionary map, and the foundation of a science. There are poems in this anthology that tell the story of Smith’s genius and his misfortune; poems about fossil hunting and map making; poems about the drive of the Industrial Revolution and our continuing reliance on fossil fuels. They illustrate not only the vibrancy and variety of contemporary poetry but also poetry’s unique ability to take on uncharted territory with vision: the poems make Smith’s map anew in moving and surprising ways. You can read more about the anthology on the Worple website.

Worple Press was founded by Peter and Amanda Carpenter in 1997 and publishes 6-8 books a year by new and established poets: collections, pamphlets, works in translation, essays, interviews. Early authors included Iain Sinclair, Joseph Woods, Beverley Bie Brahic, Kevin Jackson and the acclaimed American nature poet Peter Kane Dufault. Recent collections (2014/2015) include Andy Brown’s Exurbia, Isabel Galleymore’s Dazzle Ship, Martyn Crucefix’s A Hatfield Mass, Julian Stannard’s The Street of Perfect Love, and Clive Wilmer’s Urban Pastorals. More information can be found at the publisher’s website, and on Facebook and Twitter. Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

The only proper way to go on a fossil hunt is in a minibus

~ oxfordbrookesuni

She was always glad to be taken along, liked
the dirt, the students’ laughter.
Once, in the pale grey slope of a road cutting,
she found an ammonite, big as a skull.

Having learned that the earth is made of layers
she began to put her feet down differently
so as not to disturb the pattern, dreamed
of shapes vibrating in the seams,

found she was torn between the wish to preserve
and a digging desire to excavate,
cover the landscape in mountains of rubble,
unearth old life or an ancient ore.

She longed for a map that could pinpoint
a likely place to look, spare her
the lung-blighting spade work. Better to lie still
with her ear in the cool grass, listen

to the coal,
to the trilobites singing.

by Ailsa Holland

‘The only proper way to go on a fossil hunt is in a minibus’ is copyright © Ailsa Holland, 2015. It is reprinted from MAP: Poems After William Smith’s Geological Map, edited by Michael McKimm (Worple Press, 2015) by permission of Worple Press. 

Notes from Worple Press:

Ailsa Holland’s poems have been published in print and online in such places as Nutshell, Angle, Ink Sweat & Tears and And Other Poems. She won second prize in the Open Category of the 2014 Hippocrates Award. Under Silk Wood, a Maxonian homage to Under Milk Wood, was written and performed by Ailsa with Jo Bell for Macclesfield’s Barnaby Festival 2014. 

MAP is a new anthology from WorplePress which celebrates the first geological map of Britain, created single-handedly 200 years ago by the engineer and geologist William Smith. Edited by Michael McKimm, this groundbreaking anthology collects new work by over thirty poets inspired by William Smith, his revolutionary map, and the foundation of a science. There are poems in this anthology that tell the story of Smith’s genius and his misfortune; poems about fossil hunting and map making; poems about the drive of the Industrial Revolution and our continuing reliance on fossil fuels. They illustrate not only the vibrancy and variety of contemporary poetry but also poetry’s unique ability to take on uncharted territory with vision: the poems here make Smith’s map anew in moving and surprising ways. You can read more about the anthology on the Worple website.

Worple Press was founded by Peter and Amanda Carpenter in 1997 and publishes 6-8 books a year by new and established poets: collections, pamphlets, works in translation, essays, interviews. Early authors included Iain Sinclair, Joseph Woods, Beverley Bie Brahic, Kevin Jackson and the acclaimed American nature poet Peter Kane Dufault. Recent collections (2014/2015) include Andy Brown’s Exurbia, Isabel Galleymore’s Dazzle Ship, Martyn Crucefix’s A Hatfield Mass, Julian Stannard’s The Street of Perfect Love, and Clive Wilmer’s Urban Pastorals. More information can be found at the publisher’s website, and on Facebook and Twitter. 

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

A Birthmother’s Catechism

~ oxfordbrookesuni

How did you let him go?

With black ink and legalese

How did you let him go?

It’d be another year before I could vote 

How did you let him go?

With altruism, tears, and self-loathing

How did you let him go?

A nurse brought pills for drying up breast milk

How did you let him go?

Who hangs a birdhouse from a sapling?

by Carrie Etter

‘A Birthmother’s Catechism’ is copyright © Carrie Etter, 2014. It was published in Imagined Sons, and is reprinted here by permission of Seren Books. 

Notes from Seren: 

American poet Carrie Etter has lived in England since 2001 and taught creative writing at Bath Spa University since 2004. She has published three collections of poetry: The Tethers (Seren, 2009), winner of the London New Poetry Prize, Divining for Starters (Shearsman, 2011) and Imagined Sons (Seren, 2014); she also edited the anthology Infinite Difference: Other Poetries by UK Women Poets (Shearsman, 2010). Individual poems have appeared in Boston Review, The New Republic, The New Statesman, Poetry Review, The Times Literary Supplement, and many other journals worldwide. She also reviews contemporary poetry, most recently for The Guardian and Warwick Review.

You can read more about the book on Seren’s site, and find out more about Carrie’s work from her blog. You can also follow her on Twitter.

Writing of this collection, Carol Rumens has commented: ‘The narrator is a mother whose son was adopted soon after his birth. In the main sequence she describes a series of encounters with the now-adult child. This is not the report of a literal search, nor an effort to construct an identity, but a mosaic of the numerous possibilities of relationship. Funny at times, fast-moving and psychologically astute, these tiny monologues are held together by a narrative voice as seemingly self-possessed as it is candid.’

Seren is based in Bridgend, South Wales and was originally conceived in the early 80’s by then Head of English at Brynteg Comp, Cary Archard, on his kitchen table as an offshoot of Poetry Wales magazine. After moving briefly to poet Dannie Abse’s garage in Ogmore by Sea, the advent of Managing Editor Mick Felton has seen the press has go from strength to strength. We’ve published a wide range of titles including fiction (which under Editor Penny Thomas has seen the Booker-nominated novel by Patrick McGuinness, The Last Hundred Days, and an acclaimed novella series based on the medieval Welsh tales from the Mabinogion) and non-fiction (including literary criticism such as John Redmond’s Poetry and Privacy, as well as sumptuous art books like the collaboration between the painter Shani Rhys James and a number of poets and writers: Florilingua). Seren’s poetry list, edited by Amy Wack since the early 90s, has produced T.S. Eliot-nominated titles by Deryn Rees-Jones and Pascale Petit, Costa winner John Haynes, and a large list of Forward prize winners and nominees. Cary Archard remains on our Board of Directors and is a lively and influential presence. We mourn the loss, last year, of the wonderful Dannie Abse, also a guiding spirit. Find out more about the publisher from its website.

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

The Necropolis

~ oxfordbrookesuni

When I walked into the necropolis
at Genoa I saw that every grave

had been allocated a panettone
and because the Council was in

broad terms a coalition of the left
every panettone was in a red box

and because every panettone
was in a red box I had a hunch

the old Maoist-Leninist-Stalinist
front were calling a meeting

with the dead and because the
dead were bored of being dead

they clapped and shouted
like nuns who have discovered

the libido and because nuns
have discovered the libido

I am going to bring the poem
to a sudden end. Sleep well!


by Julian Stannard

‘Necropolis’ is copyright © Julian Stannard, 2014. It is reprinted from The Street of Perfect Love (Worple Press, 2014) by permission of Worple Press.

Notes from Worple Press:

Julian Stannard spent many years teaching American and English Literature at the University of Genoa. He has a PhD from UEA and is now a Reader in Creative Writing at the University of Winchester. Previous publications include Rina’s War (Peterloo, 2001), The Red Zone (Peterloo, 2007) and The Parrots of Villa Gruber Discover Lapis Lazuli (Salmon, 2011). He co-edited The Palm Beach Effect: Reflections on Michael Hofmann (CB Editions, 2013). He was awarded the Troubadour Prize in 2010 and reviews for the TLS, the Guardian and Poetry Review.

To read more about Julian’s new chapbook, visit the Worple website. You can also follow Julian on Twitter, and read more of his work on the Poetry Foundation website.

Worple Press was founded by Peter and Amanda Carpenter in 1997 and publishes 6-8 books a year by new and established poets: collections, pamphlets, works in translation, essays, interviews. Early authors included Iain Sinclair, Joseph Woods, Beverley Bie Brahic, Kevin Jackson and the acclaimed American nature poet Peter Kane Dufault. Recent collections (2014/2015) include Andy Brown’s Exurbia, Isabel Galleymore’s Dazzle Ship, Martyn Crucefix’s A Hatfield Mass, Julian Stannard’s The Street of Perfect Love, and Clive Wilmer’s Urban Pastorals. More information can be found at the publisher’s website, and on Facebook and Twitter.

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

Bleach

~ oxfordbrookesuni

You’ve burnt me, bleach. Swollen my skin
until it squeaks. I trusted you and took off
my gloves. You left your red stubble touch.

I know you’re bad, bleach. I’ve read your label
and turned from the checkout before now.
I’ve sworn to give you up for good but

you’re so strong, bleach, when it comes
to the mould blooming across my bathroom
and my dreams. I needed you, called out

and you were there, bleach. Still, you must go.
Quick, no one will know. You’ve chewed my fingers
and swallowed my prints with your stink

so I’m blameless and raw as I tuck you in,
hide your face amongst the softer yet so much
weaker ecological bottles under the sink.


by Katherine Stansfield

This Thursday, join us at Brookes for a symposium about Witchcraft, Spiritualism, and the Occult. Featuring papers about Walter Scott, psychic detectives, and the use of the web to map stories of witchcraft and magic, this will be a lively and eye-opening event. It takes place from 5-6.30pm in room 207 of the JHB Building at Gipsy Lane. More details can be found here.

‘Bleach’ is copyright © Katherine Stansfield, 2014. It was published in Playing House, and is reprinted here by permission of Seren Books. 

Notes from Seren: 

Katherine Stansfield grew up on Bodmin Moor in Cornwall. She moved to Wales in 2002 to study at Aberystwyth University where she worked as a lecturer in Creative Writing for several years before deciding to concentrate on writing full time. She is a poet and fiction writer. Her novel The Visitor was published by Parthian in 2013. It went on to win the fiction prize at the 2014 Holyer an Gof awards. Playing House, her debut poetry collection, was published by Seren in October 2014. Read more about her new book on the Seren website, and more about Katherine’s work on her own site. You can also follow her on Twitter and hear her read from her work here.

Writing about Katherine’s work, the Lampeter Review observed that: ‘Wit is a powerful tool that can be at once unsettling and disarming. It certainly imbues the virtuoso handling of tone in Katherine Stansfield’s poems, and her almost celebratory relish of the physicality of language.’

Seren is based in Bridgend, South Wales and was originally conceived in the early 80’s by then Head of English at Brynteg Comp, Cary Archard, on his kitchen table as an offshoot of Poetry Wales magazine. After moving briefly to poet Dannie Abse’s garage in Ogmore by Sea, the advent of Managing Editor Mick Felton has seen the press has go from strength to strength. We’ve published a wide range of titles including fiction (which under Editor Penny Thomas has seen the Booker-nominated novel by Patrick McGuinness, The Last Hundred Days, and an acclaimed novella series based on the medieval Welsh tales from the Mabinogion) and non-fiction (including literary criticism such as John Redmond’s Poetry and Privacy, as well as sumptuous art books like the collaboration between the painter Shani Rhys James and a number of poets and writers: Florilingua). Seren’s poetry list, edited by Amy Wack since the early 90s, has produced T.S. Eliot-nominated titles by Deryn Rees-Jones and Pascale Petit, Costa winner John Haynes, and a large list of Forward prize winners and nominees. Cary Archard remains on our Board of Directors and is a lively and influential presence. We mourn the loss, last year, of the wonderful Dannie Abse, also a guiding spirit. Find out more about the publisher from its website.

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

The Last Thatch

~ oxfordbrookesuni

for Thomas Lynch

The sun had dried the haggard to a crust,
whilst up on Riley’s roof they hammered slates.
The donkey’s hooves were puffing up the dust

as we listened to the roofers’ repartee – they cussed
each time their new apprentice made mistakes.
The sun had dried the haggard to a crust.

‘You need to watch your bloody work. A hefty gust
might see you boost the unemployment rates…’
The donkey’s hooves were puffing up the dust

below, tired of the heat and apparently nonplussed
that soon he’d face the derby’s starting gates.
The sun had dried the haggard to a crust.

Racing themselves, the roofers said they must
‘Get the whole shebang finished before eight’,
when donkey hooves would puff the racetrack dust.

The thatch was gone; the new slates ‘more robust’;
the starter’s gun discharged on real estate.
The sun had dried the racetrack to a crust
where donkey hooves were puffing up the dust.

by Andy Brown

This Friday from 6pm at IES in London, three fantastic poets will be giving a free reading: Ian Duhig, Patience Agbabi, and Hannah Lowe. Sign up to attend via Eventbrite.

The public reading is part of the New-Next Generation contemporary poetry conference on Friday and Saturday, organized by the Poetry Centre and the IES, which features more readings (from Helen Mort and Nick Drake), and discussions about the publishing and reviewing of contemporary poetry. Register separately for the conference on the IES site. All are welcome.

‘The Last Thatch’ is copyright © Andy Brown, 2014. It is reprinted from Exurbia (Worple Press, 2014) by permission of Worple Press.

Notes from Worple Press:

Andy Brown’s most recent book of poems is Exurbia (Worple Press 2014). He also collaborated with David Morley on the Worple Press collection Of Science. Previous books include The Fool and the Physician, Goose Music (with John Burnside), and Fall of the Rebel Angels (all Salt). A selection of his poems appears in the Bloodaxe anthology Identity Parade. He recently edited The Writing Occurs As Song: A Kelvin Corcoran Reader (Shearsman, 2014) and is co-editing, A Body of Work: Poetry and Medical Writing, with Corinna Wagner, for Bloomsbury (2015). He is Director of the Exeter University Creative Writing Programme and was formerly an Arvon Foundation Centre Director. Read more about Andy Brown’s new book on the Worple website, and you can find out more about his academic work on the University of Exeter site.

Worple Press was founded by Peter and Amanda Carpenter in 1997 and publishes 6-8 books a year by new and established poets: collections, pamphlets, works in translation, essays, interviews. Early authors included Iain Sinclair, Joseph Woods, Beverley Bie Brahic, Kevin Jackson and the acclaimed American nature poet Peter Kane Dufault. Recent collections (2014/2015) include Andy Brown’s Exurbia, Isabel Galleymore’s Dazzle Ship, Martyn Crucefix’s A Hatfield Mass, Julian Stannard’s The Street of Perfect Love, and Clive Wilmer’s UrbanPastorals. More information can be found at the publisher’s website, and on Facebook and Twitter.

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

Child Development

~ oxfordbrookesuni


I am concerned we are making this mother
not like her son
by bringing to the surface in a rush
all his faults
to find out why he won’t sit still
and does what he does.

He looks fatter recently,
and turns his toes inwards
in a way that I’ve always liked but know
is aberrant, or will lead to aberrations.

And he looks over his shoulder often.
We have talked of how
he will escape
to the safe middle-distance
where ground-down words become music,

and how he will look for your eyes.
We have been told
we should not hold his gaze
in case he gets in and draws from us
what he thinks he needs,
what we are advised isn’t helping.

I saw the thinnest slice of a moon this morning.
Tomorrow, it will be melted and gone.


by Graham Clifford

Registration is still open for our contemporary poetry conference in London from 13-14 March, to which all are welcome. ‘New Generation to Next Generation 2014’ features academic panels, a poetry reading from Nick Drake and Helen Mort, and discussions about the publishing and reviewing of contemporary poetry. It will be an exciting two days. Full details of the programme are available on the IES website.The conference also includes a free public reading on the evening of 13 March by an illustrious ‘cross-generation’ panel of poets: Ian Duhig, Patience Agbabi, and Hannah Lowe, and you can register for that via the IES.

‘Child Development’ is copyright © Graham Clifford, 2014. It was published in The Hitting Game, and is reprinted here by permission of Seren Books. 

Notes from Seren:

Graham Clifford was born in 1973 in Portsmouth and grew up in Wiltshire. He studied Fine Art and then Creative Writing at the University of East Anglia. He has been published in numerous literary magazines such as: Poetry Wales, The Rialto, Magma, and London Magazine. Graham has been commended in many competitions including The Arvon International and the Bridport Prize. Two short collections won first prize in the 2006 New Writer Poetry competition and the Biscuit Publishing Prize in 2008. He has also performed at venues and events including Hay on Wye, The Troubadour Café and the Aldeburgh Poetry Festival. His work is featured in the Forward Prize Anthology for 2014. He has recently had two poems chiselled into the pavement near Walthamstow train station as part of a sundial project for refurbishment of the area.  He works as an Assistant Head Teacher in East London. The Hitting Game is his first collection. You can read more about the book on the Seren website, and find out more about Graham’s work on his own website.

Commenting on Graham Clifford’s first book in Mad Hatter Reviews, Charlotte Barnes noted that: ‘A poetry fan to my very core, I was eager to delve into Graham Clifford’s recent collection, The Hitting Game. It was clear from the opening poem, “On the Dispersal of Water”, a nugget of intricate description and thought-provoking imagery, that this was going to be an interesting collection, and the rest of the publication certainly lived up to that initial judgement.’

Seren is based in Bridgend, South Wales and was originally conceived in the early 80’s by then Head of English at Brynteg Comp, Cary Archard, on his kitchen table as an offshoot of Poetry Wales magazine. After moving briefly to poet Dannie Abse’s garage in Ogmore by Sea, the advent of Managing Editor Mick Felton has seen the press has go from strength to strength. We’ve published a wide range of titles including fiction (which under Editor Penny Thomas has seen the Booker-nominated novel by Patrick McGuinness, The Last Hundred Days, and an acclaimed novella series based on the medieval Welsh tales from the Mabinogion) and non-fiction (including literary criticism such as John Redmond’s Poetry and Privacy, as well as sumptuous art books like the collaboration between the painter Shani Rhys James and a number of poets and writers: Florilingua). Seren’s poetry list, edited by Amy Wack since the early 90s, has produced T.S. Eliot-nominated titles by Deryn Rees-Jones and Pascale Petit, Costa winner John Haynes, and a large list of Forward prize winners and nominees. Cary Archard remains on our Board of Directors and is a lively and influential presence. We mourn the loss, last year, of the wonderful Dannie Abse, also a guiding spirit. Find out more about the publisher from its website.

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

Stones

~ oxfordbrookesuni

for Dave Billings

I nearly went arse over tip on the footpath to Lundy Bay
where violets, primrose and spring squill were jostling
in the last of the sun with scurvygrass and speedwell.

I clambered over the boulders, with half an eye on the tide
that sucked and slopped in the hollows, as I looked for pretties
and paperweights – for stones are a comfort in sorrow.

And I turned up granite and quartz, flat skimmers of shale,
limestone smoothed by the ebb and flow, and a slew
of coppery pebbles tumbling down to the foam;

then heaved myself back up the cliff, pockets bulging with rocks,
as a stonechat sang in the tangled gorse and alder swayed
in the wind, while the boats out at sea held their course.

So I bring you nothing but stones and I let these stones
speak for me, that hold their own in the storm, keep faith
with the tide and the land; for we measure in millions
the years they have been here, and the years till they turn to sand.

by Stephen Boyce

This Friday, The Archway Foundation, UK, in partnership with Oxford Brookes Poetry Centre, presents Rhyme to Change, a free poetry and music event in support of Time to Change, the national campaign to end mental health discrimination. The event takes place at the Barracks Lane Community Garden from 7.30pm, and features Dan Holloway, Matt Sewell (Charms Against the Evil Eye), Hugh McManners and George Edward Chopping. For more details, visit Archway’s Facebook page.

‘Stones’ is copyright © Stephen Boyce, 2014. It is reprinted from The Sisyphus Dog (Worple Press, 2014) by permission of Worple Press.

Notes from Worple Press:

Stephen Boyce lives in Hampshire and works as an advisor to arts and heritage bodies. His poems have appeared in Magma, Staple, The Interpreter’s House, Frogmore Papers, Smiths Knoll, Tears in the Fence, Ink, Sweat & Tears, Acumen and other journals, as well as in various anthologies. He has been a prizewinner in the Kent & Sussex, Leicester, Ledbury, Ware Poets and Plough Prize competitions. His collection Desire Lines (Arrowhead Press 2010) was described by Katherine Gallagher as ‘intelligent, sophisticated, formally assured… a truly exciting new voice’. He is a trustee of Winchester Poetry Festival. You can read more about his work on his website and on Twitter. You can find out more about his book on the Worple website.

Worple Press was founded by Peter and Amanda Carpenter in 1997 and publishes 6-8 books a year by new and established poets: collections, pamphlets, works in translation, essays, interviews. Early authors included Iain Sinclair, Joseph Woods, Beverley Bie Brahic, Kevin Jackson and the acclaimed American nature poet Peter Kane Dufault. Recent collections (2014/2015) include Andy Brown’s Exurbia, Isabel Galleymore’s Dazzle Ship, Martyn Crucefix’s A Hatfield Mass, Julian Stannard’s TheStreet of Perfect Love, and Clive Wilmer’s Urban Pastorals. More information can be found at the publisher’s website, and on Facebook and Twitter.

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

San F.

~ oxfordbrookesuni


Bridged city under fog-white hills
The weeks were love and ended our eyes turning
Away past silence, endurable, the way damp soil tills.
In front of October, already, love was slower burning.
Wakeless suspension, her absence the agent of fever,
You gave the meaning of newspapers, and cleared the mist,
Silently plaguing like a dress I can’t remember
As i held back love with gripped fist.
Sirocco, and even the week-ends spent
The mental move must precede suitcases packed
Standing eternally within this dolmen we bent
Two memories and me gazing into plaster cracked.
       Give time the time to rewind cells
       Another meeting will arrange new hells.

by Ed Dorn

Our contemporary poetry conference, New to Next Generation 2014, takes place between 13-14 March 2015 in London, and features a wide range of discussion panels, poets (such as Helen Mort and Nick Drake), publishers and editors (like Peter Target from this week’s publisher, Enitharmon, Tom Chivers, and Karen McCarthy Woolf), and critics (such as David Wheatley, Suzi Feay, and Jeremy Noel-Tod). You can register for the conference on the IES website. All are welcome. On 13 March, there is also a free evening reading featuring Ian Duhig, Patience Agbabi, and Hannah Lowe. Please register for that here.

‘San F.’ is copyright © Edward Dorn, 2015. It is published in Derelict Air, and is reprinted here by permission of Enitharmon Press.
 
Derelict Air gathers over 400 pages of Edward Dorn’s previously uncollected poetry. Whereas Dorn’s Collected Poems exhibits the poet that he became, Derelict Air reflects a career of becoming, full of unacknowledged successes: impassioned outbursts written during the Cuban missile crisis, illustrated bucolics for an unfinished children’s book, “confetti poems” meant to shower the 1968 DNC, translations of native texts from the Mayans and Aztecs, outtakes from his sci-fi epic Gunslinger, and a relentless extension of his nineties ‘stock ticker’. Complete with scholarly endnotes, manuscript facsimiles, and a cover by the painter Raymond Obermayr, this substantial offering of Dorn’s poetry makes fully visible the transatlantic roots of his anti-capitalism, and is a must-have for anyone interested in post-War American modernism. The book contains a large number of illustrations, including reproductions of manuscripts which reveal Dorn’s unique style of composition. You can find out more about the book on the Enitharmon website, and listen to Ed Dorn read from his work on the PennSound website.

Edward Dorn (1929-1999) was born in Eastern Illinois in 1929 and grew up in rural poverty during the Great Depression. He studied at Black Mountain College with Charles Olson. For several years he travelled through the far West of America, following the winds of writing and employment. He taught at various universities in America and the UK (Essex) where he wrote the first book of his epic Gunslinger), before accepting a professorship in 1978 at the University of Colorado, Boulder where he continued teaching until his death in December 1999. He is the author of over forty books of poetry, fiction, non-fiction and translation. Writing about Dorn’s work in The Guardian , Patrick McGuinness observed that ‘what you get from Dorn is not available anywhere else in poetry.’

‘William Blake dreamed up the original Enitharmon as one of his inspiriting, good, female daemons, and his own spirit as a poet-artist, printer-publisher still lives in the press which bears the name of his creation. Enitharmon is a rare and wonderful phenomenon, a press where books are shaped into artefacts of lovely handiwork as well as communicators of words and worlds. The writers and the artists published here over the last forty-­five years represent a truly historic gathering of individuals with an original vision and an original voice, but the energy is not retrospective: it is growing and new ideas enrich the list year by year. Like an ecologist who manages to restock the meadows with a nearly vanished species of wild flower or brings a rare pair of birds back to found a colony, this publisher has dedicatedly and brilliantly made a success of that sharply endangered species, the independent press.’ (Marina Warner.)

You can sign up to the mailing list on the Enitharmon site to receive a newsletter with special offers, details of readings & events and new titles and Enitharmon’s Poem of the Month. You can also find Enitharmon on Facebook.

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.

Boom!

~ oxfordbrookesuni

There was this baby who thought she was a hand grenade.
She appeared one day in the centre of our marriage
– or at least in the spot where all the elements of our union
       appeared to orbit –
and kept threatening to explode, emitting endless alarm-sounds
       that were difficult to decode.
On the ridge of threat, we had two options.
One was attempt to make it to the bottom
of the crevice slowly, purposively, holding hands. The other
       was see how long we could stand there philosophizing
       that when she finally went off we’d be able to take it.
But then the baby who believed she was a hand grenade
       was joined in number: several more such devices entered our lives.
We held on, expecting each day to be our last. We did not let go.
As you might expect, she blew us to smithereens.
We survived, but in a different state: you became
       organized, I discovered patience, shrapnel soldered the parts of us
       that hadn’t quite fit together before. Sometimes when I speak
it’s your words that come out of my mouth.

by Carolyn Jess-Cooke

Two notes from the Poetry Centre: registration is now open for our contemporary poetry conference in London from 13-14 March, to which all are welcome. ‘New Generation to Next Generation 2014’ features academic panels, a poetry reading from Nick Drake and Helen Mort, and discussions about the publishing and reviewing of contemporary poetry. It will be an exciting two days. Full details of the programme are available on the IES website. The conference also includes a free public reading on the evening of 13 March by an illustrious ‘cross-generation’ panel of poets: Ian Duhig, Patience Agbabi, and Hannah Lowe, and you can register for that via the IES.The deadline for submissions to our well-being poetry competition isthis Friday 13 February. It is open to all members of the Brookes community. Find more details on the Poetry Centre website.


‘Boom!’ is copyright © Carolyn Jess-Cooke, 2014. It was published in Boom!, and is reprinted here by permission of Seren Books.

Notes from Seren:

Carolyn Jess-Cooke is a poet and novelist from Belfast. She has received numerous awards for her poetry, including an Eric Gregory Award, the Tyrone Guthrie Prize for Poetry, an Arts Council Writer’s Award, prizes in the Cardiff International Poetry Competition and the National Poetry Competition, and she has twice received a Northern Promise Award. Her work has been translated into over twenty languages. She is Lecturer in Creative Writing at the University of Glasgow. You can read more about Boom! on Seren’s pages, and more about Carolyn Jess-Cooke from her website. You can also follow Carolyn on Facebook and Twitter.

Writing about Jess-Cooke’s work in New Welsh Review, Georgia Carys Williams has commented that: ‘For any readers who sigh at the very idea of pregnancy writing, these poems are somehow unique, laying motherhood bare, written at the raw moment of pain and ecstasy at each strange and miraculous stage. We can only gain further insight from such vivid descriptions of how this experience affects time, identity and relationships.’

Seren is based in Bridgend, South Wales and was originally conceived in the early 80’s by then Head of English at Brynteg Comp, Cary Archard, on his kitchen table as an offshoot of Poetry Wales magazine. After moving briefly to poet Dannie Abse’s garage in Ogmore by Sea, the advent of Managing Editor Mick Felton has seen the press has go from strength to strength. We’ve published a wide range of titles including fiction (which under Editor Penny Thomas has seen the Booker-nominated novel by Patrick McGuinness, The Last Hundred Days, and an acclaimed novella series based on the medieval Welsh tales from the Mabinogion) and non-fiction (including literary criticism such as John Redmond’s Poetry and Privacy, as well as sumptuous art books like the collaboration between the painter Shani Rhys James and a number of poets and writers: Florilingua). Seren’s poetry list, edited by Amy Wack since the early 90s, has produced T.S. Eliot-nominated titles by Deryn Rees-Jones and Pascale Petit, Costa winner John Haynes, and a large list of Forward prize winners and nominees. Cary Archard remains on our Board of Directors and is a lively and influential presence. We mourn the loss, last year, of the wonderful Dannie Abse, also a guiding spirit. Find out more about the publisher from its website.

Copyright information: please note that the copyrights of all the poems displayed on the website and sent out on the mailing list are held by the respective authors, translators or estates, and no work should be reproduced without first gaining permission from the individual publishers.