Sunday 30 June 2013

Our Disappearing World


The latest issue of Poetry Review, Our Disappearing World (100:1, Spring 2010) has just been published, and features a broad array of interesting poems, features, and reviews: just received my copy the other day, so haven't had chance to enjoy it in full, but so far Alison Brackenbury's article on the work of John Clare, Jacqueline Gabbitas's round-up of recent pamphlets, and poems by Glyn Maxwell, John Stammers, James Midgley and Liz Berry have all caught and held my attention. In particular, Liz Berry's "In the Steam Room" is impressive: a minutely detailed, gorgeously sensual and descriptive poem that is also, in parts, that touch uncomfortable - great stuff. I'm particularly pleased, then, to see it included in a section of the magazine, "Now and Then", which takes its title from a poem of mine, also in issue, and also includes poems by Alex McRae, Tamar Yoseloff, Tom Gilliver, and Daniel Weissbort. The issue also features the winners of this year's National Poetry Competition: Helen Dunmore's "The Malarkey", Ian Pindar's "Mrs Beltinska In The Bath", and John Stammers's "Mr Punch in Soho".

I'll also add, before I embark on the immensely dull chore of general housework, that it was an unexpected pleasure, on the same day as receiving my copy of Poetry Review, to stumble across this very generous and attentive review of my pamphlet, The Sparks, at Tom Chivers's online literary review, Hand and Star. Always heartening and reassuring to know that someone has come away from reading your stuff with a real sense of what you - often dimly, in my case at least! - feel you're trying to achieve.

Friday 28 June 2013

The Burning Perch

A snappy - and hopefully accessible and informative - piece on Louis MacNeice's best and last collection, The Burning Perch, features in the second issue of YM, the Poetry Society's online magazine for new young readers and writers of poetry. Do take a look, and once you've been persuaded, you can pick up the excellent Collected Poems here.

Poetry Magazine

A publication that I intend to start subscribing to in the new year is Poetry Magazine, arguably the poetry journal of the English-speaking world. Published out of Chicago's Poetry Foundation, it's a monthly magazine with a wide, international subscription, and features poetry from a similarly broad selection of poets from across the world. As I understand it, the magazine was founded by Harriet Munro in 1912, and has featured some of the century's greatest poems (I think the poet Conor O'Callaghan told me it was the first place to publish Eliot's Prufrock).

It mainly interests me as an useful introduction to the broad spectrum of contemporary American poetry for a complete novice like myself, but also given that its features always seem lively and interesting, its reviews are often long and rewarding (a year or so back, there was an excellent ten page review of Louis MacNeice's Collected Poems) and it has a yearly translation issue, which is an area I'm growing more interested in of late.

You can also get a feel for the publication before you decide to subscribe (which, at the current deal of buy one gift subscription, get one free is a steal) as a good deal of the stuff in each issue is also featured online. The very recently published December issue, for instance, features new poems by Fred D'Aguiar, an excellent American poet by the name of Todd Boss (among many others), and new work from Roddy Lumsden. There's also an interview with Seamus Heaney by Dennis O'Driscoll which looks interesting.

Tuesday 25 June 2013

A Reasonable Thing To Ask

It's not often that one poem can provide a straightforward answer to another poem's question. After all, if poetry always worked in such ways, it would cease to be the questioning, affecting and constantly challenging art form that it is. But in the latest edition of Poetry Review (Vol. 98:1, Spring 2008), the poet Christopher Reid has 'A Reasonable Thing To Ask', a poem alongside two others, 'Conundrum' and 'Afterlife'.

The poem's reasonable query is that the reader, or at least someone out there, 'please explain tears'. 'What', asks Reid's narrator, 'do we gain by it' ... 'a faculty that interferes / with seeing and speaking / and leaves [us] feeling weaker'? The question is a good one, as the poem's allusion to Darwin, and by extension, evolutionary theory and survival of the fittest, throws into question the evolutionary benefit (if any) of such a disabling, emotionally-triggered reflex.

Almost incredible, then, that Nick Laird's second collection, On Purpose, published last summer, provides a near perfect answer to Reid's poem in a short little piece titled 'The Perfect Host'. For it turns out that recent scientific research has uncovered the benefits of emotional tears by comparing them with basal tears (constant, moisturising 'tears' that lubricate the eye) and reflex tears (as in 'those that flow / because an onion is reduced to pieces / or smoke strays from the barbecue', as Laird puts it). And the results have shown that emotional tears contain a greater number of toxins and in particular, higher rates of manganese, which is 'thought responsible', as Laird's poem notes, 'for sadness'. In spite of crying and its physically and socially debilitating effects, then, emotional tears help to rid our body of certain toxins, and also explain why, after a good cry, people often feel much better...

because you must know by now
that it loves you, your body,
and wants you to stay.

Quite a cheery sort of conclusion, don'tcha think?

Sunday 23 June 2013

Liftmaster 41C4398A RPM Sensor Assembly


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Saturday 22 June 2013

Liftmaster 355LM Garage Door Receiver 315Mhz Conversion Kit


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Friday 21 June 2013

Difficulty, Academia, and the Young

V: I’ve been quite disappointed recently at how polarized the poetry world can be. When I’m in London speaking to young poets and people there, they like a range of poets — then I get back to Oxford, and talking to graduate students it can seem sometimes like the only poets taken seriously are Hill, Muldoon, Prynne — these are the serious poets.

CR: You can see why. There is a great difference between those poets, but they all have something in common — difficulty. If you’re a graduate student — this is professionalization again — you want to admire something that other people can’t read, where there is work for you. Those three poets represent an employment opportunity. They wouldn’t like Elizabeth Bishop because she is, relatively speaking, quite easy, although she isn’t really that easy — as you know. But there are so many local pleasures, and you persist. ‘Filling Station’ — how can anyone resist it? Well these people can. Because it’s witty, it’s lovely, and they understand it. It appears to offer them no opportunity … what critics want is a pommel horse they can pirouette around, which will continue to support them while they’re being brilliant themselves. Elizabeth Bishop — well, there’s no place for your brilliance, because the thing itself is brilliant. It’s made out of glass. It’s a piece of sculpture. Young people always like difficulty. You want to be outdistancing people. When I started doing a doctorate, it was on Coleridge’s philosophy — and the reason I did it was because I wanted to be able to say to people at a dinner party, ‘I think if you’d read Kant’s Critique der Reinen Vernunft, you’d know that … ’ I wanted to be able to silence people. It’s a terrible impulse. But of course in the end I couldn’t get through Kant, it was unintelligible. But that’s what I wanted to do — so I recognise this impulse in all these graduate students. I suffered through it myself once...

Wednesday 19 June 2013

Mew: Am I Wry? No



Was round a friend's place the other night, enjoying a few beers and some albums I haven't heard in a good while, when we ended up listening to Danish alt-rock indie band Mew's album, Frengers.

So many good songs on that record, I can't believe I haven't listened to it properly in so long. And such a refreshing, unusual sound - soaring but subtle vocals, beautiful guitar and electronic arrangements, and a pop sensibility that at the same time is totally atmospheric and cerebral - I can't recommend it enough. In fact, I've just checked their wiki page after typing that, and found that a review of the album described it as 'a work of quiet brilliance, aiming for the epic without straying into the bombastic, offering cerebral arrangements while keeping things accessible'. Spot on.

Above, then, is the promo video for 'Am I Wry? No', the opening track of the album, and as good an introduction to the record as any.

Tuesday 18 June 2013

The Swan


The Swan



Just as Blake engraved his poems backwards,
out of necessity but also open-mindedness,

each illuminated word gleaming in relief
against its brightly burning backdrop,

something clicked into place
as we watched it hurtling upwards:

the desperate, beating wingspan
testament to what should or could or can

be achieved when all’s open, flung wide,
neck craned out and eyes on the prize

as, thrashing itself from the lake’s surface,
its flight was a realised extravagance –

as Blake, man of genius and boy of visions,
saw angels line the trees, beyond reach of metaphors.





poem by Ben Wilkinson; first published in The Sparks (tall-lighthouse, 2008)

Monday 17 June 2013

Fiere


Just a quick note for those interested: my review of Fiere, Jackie Kay's new book of poems and her first with Picador, appears in today's Guardian Review. It's also on Guardian.co.uk. Brief pieces from previous supplements - on books by David Wheatley, Anna Woodford, Brian Turner, John Haynes, Penelope Shuttle, and Dan Wyke - are also in the poetry reviews archive, here.

Saturday 15 June 2013

Genie 19988A Motor Starting Capacitor


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Friday 14 June 2013

Review: The Border Kingdom by D Nurkse

In much the same way that D Nurkse’s seventh collection of poems, The Fall (2003), comprised of three sections of grouped poems, his ninth and latest book, The Border Kingdom, is divided into four sequences. The variety of the poems and the uneven length of the sequences, however, suggest that the book’s prevalent theme was not conceived from the outset. Poems, after all, have a useful tendency towards naturally grouping themselves together and forming a coherent whole; different poems extending into one another through recurrent images and themes, as a result of the poet’s preoccupations, interests and concerns. Where The Fall’s sections addressed childhood, married adulthood and illness in old age, then, charting the Blakean journey from innocence to experience and the consequent fraying of our thoughts, beliefs and singular identities, The Border Kingdom’s four groupings of poems approach states of limbo and ambiguity from an assortment of often unusual angles, spanning wars waged from the Biblical to the present and the fractures and fragments left behind, to the legacies of fathers and the complex heritages that they leave their children.

‘Jericho’ opens the book’s first section, ‘The Age of Crusades’, in an intense, if elliptical, burst of imagery. Describing ‘a high window’ where ‘a white curtain knotted against itself / gives a glimpse of the lovers / as they were before the war’, this deceptively simplistic poem depicts the ‘undo[ing] of a mother-of-pearl snap / while a cat perched on the sill / looks down with burning eyes’. Despite Nurkse’s tendency towards the longer, often sequential poem, then, in many ways this short, sparsely rich account of intimacy in a city dominated by conflict sets the tone for the rest of the book: tender, humane and evocative whilst at the same time darkly political and historical, Nurkse’s poetic voice combines felt emotion and level-headed thinking to impressive effect. In ‘Albi’, for instance, another poem in the collection’s opening section, the narrator’s harrowing tale of his being ‘sealed up in a wall’ is related matter-of-factly in precise, conversational lines, but with an eerie feeling that is – as good poetry should be – difficult to describe; emotional and strangely spiritual, yet also markedly impersonal: ‘Then I was the wall itself, / everything the voices long for / and cannot have – the self, / the stone inside the stone’.

It is this captivating style that lends Nurkse’s poetry its sometimes startling originality. This is especially evident in ‘Ben Adan’, an arresting poem in which a seemingly innocent prisoner is instructed by his captor to dig his own grave. Here, it is less the haunting beauty of the poem’s imagery, despite its imaginativeness (‘At thigh-depth I found / a layer of black loam / and a tiny blue snail / that seemed to give off light’) than the disconcerting yet well-pitched tone of the narrator’s voice (‘perhaps in a moment / he will lift me up / and hold me trembling, more scared than I / and more relieved’) that gives the poem its poignancy and delicate weight. This allows the poem to interrogate the reader’s notions of power and captivity (in both a psychological and physical sense) in ways that a more straightforward engagement would fail to hit upon, and Nurkse’s work with human rights organisations have no doubt helped contribute to his producing such accomplished poetry on the matter.

In the book’s second sequence, ‘The Limbo of the Fathers’, there is a continuation of this type of (im)personal political poetry; finding poignancy and wide-reaching revelation in the nuanced specifics of individual lives, rather than looking for history’s lessons on a larger, grander scale. ‘In the Hold’, for example, is an affecting account of the poet’s father leaving Nazi Germany as a stowaway in ‘the stifling void’ of a boat, depicting how he ‘counts the coins in his sack, / the stitches in the gunny weave – / takes his pulse, then having / no more real things, he counts / the members of his family, the chimneys / of his village, all the days / of his life in the old country’. Similarly, the deft specificities of the poet’s memory in ‘Practice’ – recalling his throwing ‘a white Spaldeen / shaped exactly like a baseball […] / all morning at the fence post’ as an extended metaphor for our childhood ‘practicing’ at adulthood – makes for an enjoyable and gently nostalgic, if slightly inconsequential, poem; the poet ‘relieved of a great burden / to see [his] father so clearly, / shivering, gray, stammering to himself, // mincing a clove of garlic / until it was fine and plural / as the gesture itself’.

Unfortunately, The Border Kingdom’s third sequence, ‘The Limbo of the Children’, is less engaging than these earlier poems. This is perhaps odd as the section also contains a handful of the book’s best pieces. Among these is ‘Canaan’, a short lyric on the failures inherent to language which, though bringing little new to our postmodern understanding of drifting, unpredictable signifiers, finds, in both senses, fantastic images to evoke our relationship with the spoken and written word: ‘How the mind wound up the doves / and sent them volleying / over the shepherds’ low fences’. This delight and frustration with the failings of communication is also conjured effectively in ‘The Child’, in which the young narrator describes how ‘no one calls me you. / I am addressed in the third person / as if I were sideways to the world’. It is a shame, then, that these poems sparkle among a sequence which is otherwise littered with numerous narratives reflecting on nature and mountains in particular, which, though often richly descriptive and subtly musical, are too often full of inactive lists that do little more than to describe (albeit atmospheric) landscapes (‘Hitching to Mount Hebron’, for example, or ‘At High Falls’).

This aside, however, when Nurkse hits his stride such writing can begin to evoke the Hopkins of ‘No Worst, There Is None’, and even the Wordsworth of ‘The Prelude’, in its merging of the landscape with the poet’s state of mind. In 'The Border Range’, for instance, the narrator states how: ‘Sometimes we boasted / of the waterfall, the whirlwinds, / the downy soft-pinioned owl / drifting in daylight / with a hole in his voice, / the immense cliffs’, before concluding: ‘And that is all anyone knows / of those years of marriage, / labor, voluntary poverty: / those mountains were perfectly flat / and exist only as a little rip / where the map was folded once too often’. Through taut language and economic use of imagery, this poem succeeds in adopting our relationship with nature as a metaphor for our often difficult relationships with one another, an impressive feat which Nurkse pulls off with considerable skill.

It is satisfying to find, then, that the closing sequence of The Border Kingdom, ‘The Gods’, is the best of the collection; comprising of consistently engaged and engaging poems on the difficult subject of conflict in the contemporary world. The success of these poems often rests on their approaching subject matters from oblique angles: in ‘Late Summer’, for example, an unknown terror grips the narrator who ‘ha[s] to remind [him]self: / this is darkness’, while in ‘Liberation in Winter’, the threat of a bombing is described as ‘maybe just a faux pas between lovers // who lie naked, an inch apart, / in the stepwise shadows of the blind’. Similarly, the fallout of 9/11 is addressed with care and subtlety, imagining ‘children [drawing] the plane, / sticking out their tongues, pressing / hard with crayons, never looking up / as if they’d seen it all their lives’. Here, the towers in the child’s drawing become ‘a huge box’, ‘the fire – an orange flower: / God – a face with round eyes / watching from the margin’, and ‘the fireman in his smudged hat / running with outstretched arms / up a flight of endless steps / that veered suddenly off the page’.Just as the sequence, and collection, closes with the image of ‘round pools, / […] trembl[ing] as if a child swam there’, then, the thought-provoking child’s drawing in ‘After a Bombing’ most starkly suggests an idea that recurrently surfaces throughout this deeply philosophical, deceptively simplistic, and often rewardingly discomfiting collection: namely, that our habitual handle on the world is often staunchly limited, narrow, and thus frequently inadequate, and that greater understanding, even redemption, may often lie in a freer, fuzzier, and more openly imaginative approach to the world.

It is to Nurkse’s credit that he has written a book of poems which expresses this so unprescriptively and effectively, then, and that explores a great deal more besides in diction and syntax well-pitched between ordinary speech and poetic elegance; a collection which is much more, as the narrator of ‘Canaan’ states, than mere ‘signs on the blank page’.


This review originally featured on Eyewear.

Thursday 13 June 2013

Multicode - Gate or Garage Door Opener Receiver


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Wednesday 12 June 2013

Genie Screw Drive Coupler 30257T


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Tuesday 11 June 2013

Review: Lorraine Mariner's Furniture


The title poem of Lorraine Mariner’s debut volume tells the story of two young women in their twenties: one who has “acquired” a family, home and furniture, the other “who’d only ever known the fully-furnished, / the three white goods”. As both a metaphor for unrealised, misplaced aspirations and an emblem of modern life’s clutter, furniture in the broadest sense is ubiquitous in Mariner’s poems. Many specifically address such objects, intent on uncovering the social significance they embody, as in the complex staff-room politics of “Chair”, or the collapsed Ikea wardrobe of “There is nothing wrong with my sister”. Elsewhere, the cultural detritus of Littlewoods catalogues, CDs, predictive texts and London Lite newspapers grows irritatingly to litter the book with their almost programmatic contemporaneity, though frustration is usually offset by Mariner’s natural, charming and engagingly chatty free verse.

The best poems in Furniture tend to be the longest, affording Mariner room to unpick everyday subject matters in often surreal narratives. In its study of human infidelity, “Feathers” sustains an impressive (if unlikely) extended metaphor based on birding, while “My beast” brings children’s fairytale and adult reality into literal collision, the poet imagining her father’s “Volvo reversing into a beast’s carriage” while she “end[s] up at the castle as compensation”. “Assertiveness role play” treads a similar line between contemplative seriousness and wry comedy. “Thursday” is an accomplished and original perspective on terrorism, detailing in lengthy stream of consciousness the poet’s journey to work on the morning of the 2005 London bombings.

It is in the short, first-person lyrics which dominate the collection that the shortcomings of Mariner’s verse appear. Too many of her poems fail to develop their slight subject matters: in “Shop names”, a brief discussion of retail puns yields nothing beyond mild amusement; “My wedding” sacrifices a more provocative engagement with the personal implications of our digital era to throwaway, crowd-pleasing effects. At its best, Mariner’s work is sure-footed, energetic, and often strikes an original tone; at worst, it exhibits prosiness and chick-lit triviality. But the strongest poems – foremost among them the fully realised character study of “In my worst moments” – successfully combine a witty light touch with intelligent reflection.


first published in the Times Literary Supplement

Monday 10 June 2013

A Quantity of 10 -- 11 Ball Nylon Garage Door Rollers


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Sunday 9 June 2013

The New Political Poetry?

The recent ruckus at the UK’s Poetry Society has so far seen plenty of finger-pointing, gun-jumping, side-taking (but which sides? and who’s on them?), as yet unsubstantiated rumours of some supposedly shady goings-on, high profile resignations, and a(nother) quite funny rehash of one particularly reiterable scene from epic war film Downfall. Business as usual in poetry-biz-land, then.

Something that’s also been bandied about is the idea that the Poetry Society would be better off doing away with Poetry Review. Of course, I would never suggest that many, indeed most of the more fervent supporters of this idea are of an ilk that reacts very, very badly to repeat rejection slips. But I will say that one of the main, if not the reason I continue to be a paid-up member of the Society is to get my quarterly subscription to what has always been a thoughtful, provocative, entertaining, infuriating, but above all engaging magazine.

Yeah right, Ben, you would say that – you’ve got a poem in the latest issue! Ah yes, so I have. Well, shoot me down. Tell me it’s exactly the same as every poem that Poetry Review has ever published; bourgeois, nice & safe, formal pillar of mediocrity that it is. Then send me a copy of a real magazine, with avant-garde stuff that boggles the mind in its self-reflexive boundary-pushing, i.e. its brave disregard for not only sense and musicality, but also for the reader, who’s fast giving up on trying to wrestle something, anything from the brave new spattered word-shrapnel. Amen.

Now the cutting edge trend-vaulters have gone (or as ever, are one step ahead on the road to nowhere, scrolling down to the comments box) and I’ve stopped madly addressing myself, let me tell you that, truly, there’s some great stuff in the latest PR. New poems from Jamie McKendrick, Philip Gross, Daljit Nagra, Adam Thorpe; fascinating political letters to Crane, Milton and Shelley from John Burnside, Gwyneth Lewis and Neil Rollinson; reviews of Duhig, Cope, McDonald and others, including a round-up of debutants. The series of poems by David Harsent for the World Wildlife Fund, commissioned to accompany photographs as part of the ecological campaign Fragile Beauty, are especially compelling in their subtle, dark, questing arguments, as is the Centrefold perspective on Harsent’s work to date by poet-critic Sean O’Brien. Well worth a read.

And before I nip off to sort a nightcap, here’s a link to Dan Wyke’s blog, who kindly asked if he could feature my stab at translating Eugenio Montale’s “Il Balcone”. Needless to say I can’t speak Italian (back when I wrote the piece I worked from a mixture of literal translations and existing versions to first get a feel for the poem, before attempting to make my own), so I’m chuffed to have the poem praised by someone who can, and who’s also a talented poet in his own right. Check out his debut, Waiting for the Sky to Fall, to see what I mean.

Friday 7 June 2013

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Thursday 6 June 2013

The Salt Book of Younger Poets - now available


THE SALT BOOK OF YOUNGER POETS
edited by Roddy Lumsden & Eloise Stonborough
Salt Publishing, October 2011. Paperback, £10.99


The Salt Book of Younger Poets showcases a new generation of British poets born since the mid-80s. Many of these poets embrace new technologies such as blogs, social networking and webzines to meet, mentor, influence and publish their own work and others’. Some poets here were winners of the Foyle young poet awards when at school. Some have published pamphlets in series such as tall-lighthouse Pilot and Faber New Poets. All of them are working away on first collections. This is a chance to encounter the poets who will dominate UK poetry in years to come.


Rachael Allen | Daniel Barrow | Jack Belloli | Jay Bernard | James Brookes | Phil Brown | Niall Campbell | Kayo Chingonyi | Miranda Cichy | John Clegg | Nia Davies | Amy De’ath | Inua Ellams | Charlotte Geater | Tom Gilliver | Dai George | Emily Hasler | Oli Hazzard | Dan Hitchens | Sarah Howe | Andrew Jamison | Annie Katchinska | Andrew McMillan | Siofra McSherry | Ben Maier | Laura Marsh | Annabella Massey | James Midgley | Helen Mort | Charlotte Newman | Richard O’Brien | Richard Osmond | Vidyan Ravinthiran | Sophie Robinson | Charlotte Runcie | Ashna Sarkar | William Searle | Colette Sensier | Warsan Shire | Lavinia Singer | Adham Smart | Martha Sprackland | Eloise Stonborough | Emily Tesh | Jack Underwood | Ahren Warner | Ben Wilkinson | Sophie Yeo


RRP £10.99; currently available to buy from from Amazon for £7.54.

Tuesday 4 June 2013

Rosemary Tonks

"My foremost preoccupation at the moment is the search for an idiom which is individual, contemporary and musical. And one that has sufficient authority to bear the full weight of whatever passion I would wish to lay upon it.

"Every poet who has been confined - at the mercy of form when he has come of age emotionally - and has found half the things he wants to say well out of his poem's range, knows the immensity of the task. And I am not speaking here of metrical skills, but of absolute freshness and authenticity in handling diction.

"What I write about must develop from my life and times. I am especially conscious of the great natural forces which bring modern life up to date. My concern here is with the exact emotional proportions - proportions as they are now current for me. Ideally, whatever is heightened should be justified both by art and by life; while the poet remains vulnerable to those moments when a poem suddenly makes its own terms - and with an overwhelming force that is self-justifying. For this reason certain poetic ideas have little validity when lifted out of context. I am consequently uneasy when discussing the logic of a poem with those whose intellectual equipment is purely mathematical. If you say that the English have a love of order which is puritanical, and the French a love of order which is imaginative, that does not make one more orderly than the other. The progress of feeling in a poem may be no less logical than the development of an argument.

"Telling the truth about feeling requires prodigious integrity. Most people can describe a chest of drawers, but a state of mind is more resistant. A hackneyed metaphor is the first sign of a compromise with intention; your reader damns you instantly, and though he may read on with his senses, you have lost his heart. Some poets do manage to converge on their inner life by generating emotion from an inspired visual imagery; in this instance the images exist in their own right, but may be thought to be in a weaker position as the raw material of the emotion, in preference to a larger existence as illustration of it."

Rosemary Tonks, writing in the PBS Bulletin in 1963,
in relation to her collection Notes on Cafés and Bedrooms

Hell in Contemporary Literature


J.C., who writes the N.B. column on the back page of the TLS, is renowned for his wicked, witty and acerbic sense of humour. So it was with some suspicion that, in reading through back issues of the supplement recently, I approached his coverage of 'the Nicholas Mosley Award for the most inadvisable book title of 2007-08'. Sure enough, Googling its title only brings up another blogger's speculation as to the award's existence, which looks almost certainly to be one of J.C.'s inventions. What's best about the whole thing, however, is the seemingly unlikely titles of the award's shortlisted contenders, including Foreskin's Lament: A memoir by Shalom Auslander, Shut Up He Explained by John Metcalf, and Random Deaths and Custard by Catrin Dafydd, with previous winners including How To Shit in the Woods by Kathleen Meyer and Pox Americana by Elizabeth Fenn.

Too ridiculous to believe? Well, though the award may not, all of these books do actually exist. No, seriously. Go and check for yourself. Foreskin's Lament is a real - and assumedly quite gritty - memoir, recounting a boy's upbringing in an 'ultra-Orthodox Jewish community in New York' and, in adult life, his deliberating as to whether or not he should have his son circumcised. Random Deaths and Custard, on the other hand, is a much more lighthearted affair: a novel that centres around a young woman who lives in Wales, works for a custard factory which is, you guessed it, imaginatively called Custard's, and whom everyone thinks is a lesbian. Oh yes. You can't make this stuff up. Although, at least in the latter case, apparently you can.

For me though, the icing on the thoroughly bizarre cake was J.C.'s mention of a little textbook called Hell in Contemporary Literature, an entry that, along with Steve Penfold's The Donut: A Canadian History, was unfortunately 'considered by the judges but fell at the last hurdle'. As it goes, Hell in Contemporary Literature, a book which 'addresses the subject of 'Hell' as a trope problematically deployed in contemporary reportage of terrorism and acts of war', is in fact by a former university lecturer of mine, Rachel Falconer. Whilst an undoubtedly interesting textbook, then, it just goes to show that becoming enveloped in any writerly project to the detriment of obtaining good critical distance can often produce, if nothing else, some hilarious results.

Monday 3 June 2013

Faber Firsts, Poetry Classics & Poet to Poet on special offer

There's a lot to be said for brilliantly designed and stunningly produced books, second fiddle though these things are - and certainly should be - to brilliant, stunning writing. When the two are combined, though, the book lover really can't ask for much more. And so it is with these recent Faber Firsts reissues: beautiful, highly affordable hardbacks of classic contemporary collections, including Armitage's Kid, Cope's Making Cocoa for Kingsley Amis, Paterson's Nil Nil and Larkin's The Whitsun Weddings.































They seem a continuation of the beautiful Faber 80th Anniversary Poetry Classics, selected poems of various poets which include similarly stunning designs and not only make the perfect gift for the newcomer to British and Irish poetry, but are tempting to those of us who already own other, doubtlessly less stylish, selecteds of Yeats, Plath, Hughes, Auden, Betjeman and Eliot.


































Good news, then, for those of us who live in or around Sheffield, as the Blackwell Bookshop on Mappin St (just off West St) has the poetry section bursting with these, and all on offer at 3 for the price of 2, alongside a healthy selection of titles from the Poet to Poet series, also 3 for 2, all of which contain an illuminating introduction and selection from a great poet's work by a contemporary (I especially recommend Michael Hofmann's John Berryman, Maurice Riordan's Hart Crane, and August Kleinzahler's Thom Gunn). As Tony Williams puts it: "I covet the books even though I already own other editions".

Sunday 2 June 2013

Review: Reed, Schmidt, Joseph, Jess-Cooke, Pugh

Jeremy Reed, West End Survival Kit, Waterloo, £10, ISBN 9781906742072
Michael Schmidt, Collected Poems, Smith/Doorstop, £18.95, ISBN 9781902382005
Jenny Joseph, Nothing like Love, Enitharmon, £9.99, ISBN 9781904634843
Carolyn Jess-Cooke, Inroads, Seren, £7.99, ISBN 9781854115119
Sheenagh Pugh, Later Selected Poems, Seren, £9.99, ISBN 9781854114976


Any poet worth their salt, as Michael Donaghy once noted, “tries to tell the truth by working truly.” Not by conforming to reified concepts of ‘fact’ or ‘actuality’, of course (but this is what actually happened!), but by being true to themselves, the reader, and the world they construct within a poem, however surreal or fantastical. The linguistic sense of a poem is a measure of this, ensuring that, rather than a private act, poems become a shared communication of recognisable truth, whether literal or imaginative. In short: you give a good poem a shove, and it always bounces back.

The poems in Jeremy Reed’s latest collection certainly depict a recognisable, albeit often futuristic world. But do they ring true? West End Survival Kit contains memorable images and the sort of off-kilter description that defined his early volumes, but also much purposeless repetition, lack of rhythmical invention and, unusually for a poet known for subversive attitudes, dichotomised gender stereotypes. The male subjects here may be anonymous, but they wear “charcoal pinstripe Sisley suit[s]”, “chill with GQ”, and drive sports cars which routinely appear, whether as objects, images or metaphors. Take trophy girlfriend “Sheila”, a “Chinese babe” who sports “a jacket sewn with loud logos // like a sticker-plastered racing car”. Reed’s intention may be a laudable criticism of a certain rich, fast-living, yet infantile segment of society (most of the poems feature brand-conscious, apathetic couples), but without wry humour or the inclusion of more sophisticated characters, such observations remain vague and wearyingly dystopian, however intriguing.

The problem remains in Reed’s over-productiveness. West End Survival Kit consists of over fifty poems, and appears two years after his last volume. There is much to provoke in its vibrant, disconcerting prophesying: “the clouds building / like a schema for World War 4”, or an ‘Interplanetary Executive’ whose “corporate logo’s a DNA strand”. But with few exceptions, these flashes of intensity pepper a collection that sounds the same note over and over; describing capitalist excess, boredom, and spiritual bankruptcy in tercet after tercet of growing fatigue. In the end, this book seems akin to the “canvas stash bag” at the centre of its title poem: curious in its gathering of familiar consumer detritus, but not enough to maintain the reader’s interest.

Unlike Reed, Michael Schmidt’s Collected Poems brings together four decades of work, yet only runs to some two hundred pages. This no doubt has to do with Schmidt’s activities as literary editor, publisher, critic and teacher; his founding of Carcanet Press and the journal PN Review, among other achievements, having earned him an OBE. But one suspects it is also due to deliberative writing methods. A poem such as ‘The Judas Fish’ exemplifies this: its blend of ornate description, everyday idiom, biblical allusion and telling imagery put to the service of a questing mind:

Looking out, indeed, there’s not much to see,

no diver, no near fish, nothing to possess,
though there is a strange possessiveness
in water, as in sunlight, determining the shadows.


Just as the eerie fish has “a Judas eye trained” on the poet, Schmidt’s work looks to uncover the elemental forces beneath surface facades, locating him within the Modernist tradition of Eliot, Pound and Yeats.

The central preoccupations of Schmidt’s poems are uncertainty, indecisiveness, and the mistakes that can follow. This is evident in rhythmical, incantatory forms (“If we swam out and never came back in, / Lapping against the deep end just the pulse / of water, is it water?”) but also dream-like, childhood reminisces: “I, to whom the knowledge had been given, // […] remember how a knot of pains / swelled my hand” (‘Wasps’ Nest’). No surprise that water – in its physical potential and metaphorical implications – often provides a manifestation of such themes: its movements mirroring the poet’s emotions; murky depths both appealing and threatening. But it is the book-length sequence at the heart of this Collected, The Love of Strangers, which is most memorable and original. As the narrator regresses from adulthood to childhood, we are given portraits, impressions, and memories of an eclectic mix of writers, artists, and loved ones; a sustained tribute to those who Schmidt holds dear, whether personally or artistically, and a work which only a poet-critic of such broad tastes and enthusiasms could have produced.

Jenny Joseph’s Nothing like Love is another collection with a wide compass. Her first since 2006’s Extreme of Things, it mixes early love lyrics with new work in what the blurb describes as an “entirely fresh combination”, which makes billing it a new book slightly odd. In any case, there seem to be two Josephs: one who is a writer of sprightly, elegant, but often clichéd lyric poems; the other who is an observant, imaginative chronicler of human experience. Several poems positioned recto-verso illustrate this: while ‘Great Sun’ exercises hackneyed imagery, ‘Here Lies Treasure: Here Be Monsters’ is a bracing reflection on love, desire and possession. Similarly, ‘Lady Love’s energetic rhythms disguise a poem of little depth, though ‘The Unlooked-For Season’ adopts plain description in pursuit of subtler effects. Nothing like Love is a mixed success, then, but this reader is not exactly its intended audience. Admirers of Joseph’s celebrated poem ‘Warning’ will, I suspect, find much to enjoy here.

Almost any poetry reader – indeed, any reader – would be pushed not to find something to enjoy in Sheenagh Pugh’s Later Selected Poems. The companion volume to her 1990 Selected Poems, it contains work from five collections published since, and is testament to the muscular, plainspoken style Pugh has developed, capable of addressing myriad subject matters in diverse manners. Life, love, death and all the usual suspects are here, of course – though typically revivified – but so too are censorship, fan fiction, HTML, cartoon characters, and renowned anthropologist Owen Beattie; even the extra in a film, seen “waving his farewells / to the extras on shore, / among whom, // with a rather distinctive hat, / by some continuity cock-up / he also stands.” Pugh’s poems are full of subtle details and double takes: mundanity may often be the order of our days, but if we pay close attention, surprise lurks just out of sight. It is this marrying of the world’s bustle and growing complexity with a miniaturist’s eye for detail that makes Pugh such an accomplished poet; as adept at longer, discursive pieces as following, say, the brief lives of “flakes of ash scudding seawards”: “the wind full / of waste paper, // brief wordless messages, / fluttering out unread.” Because, level-headedly, she speaks of and to our modern, manifold world, Pugh’s is a voice worth listening to.

So too with Carolyn Jess-Cooke, a young poet whose often contemporary subjects – YouTube, hidden-camera TV, jet lag, the fish counter at the local supermarket – are, in the best poems from her debut Inroads, made surprisingly profound through a mixture of woozy shifts in focus, startling imagery, and a freewheeling use of the vernacular. In such a lavishly varied and adventurous collection, it seems a shame to single out one poem in particular for praise. But I kept returning to opener ‘Accent’, where the local and global intermingle, yet “the picked-up place-music” of home lends shifting roots to cling to:

Home? Or everywhere? Like combing coral
or sand and snow globes, or a wave-shaped petal
from Sydney’s Manly Cove
my voice fossils places. The way sound chases
itself in tunnels and halls, the way senses
fold memory into five

is an accent’s suitcase aesthetic. Listen.


As this and the bulk of Inroads suggest, Jess-Cooke is a poet of both achievement and promise; whose future work will be worth looking out for, but who also deserves to be read and enjoyed now.



this piece was first published in Poetry Review

Saturday 1 June 2013

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Thursday 30 May 2013

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Wednesday 29 May 2013

The Sparks

I'm chuffed that my first poetry pamphlet, The Sparks, is selling well thanks to the support of those who attended both the London launch of it alongside Emily Berry's excellent Stingray Fevers; the Sheffield launch with Matthew Clegg, Helen Mort and others; and those who've bought a copy through the tall-lighthouse website. The warm reception that myself and other Pilot poets received at this year's StAnza festival was also great; people chatting and buying copies of pamphlets in the series after the Pilot reading. Cheers.

If any readers of the Wasteland are yet to get a copy however, and are interested, I've some of my own which I'm more than happy to scribble in and send out, UK postage free (£4). Just drop me an email (on my profile page). They're also available from the tall-lighthouse website, along with new pamphlets in the Pilot series by Amy Key and Sarah Lowe, and the just-published Shiver, Alan Buckley's first pamphlet, awarded the Poetry Book Society's Pamphlet Choice for Spring 2009.

Tuesday 28 May 2013

Regina Spektor



I've been listening to Regina Spektor again recently, whose album Begin To Hope briefly catapulted the self-styled 'Bronx girl by way of Moscow' into the limelight a year or so ago; 'Fidelity' and 'On the Radio' getting a decent amount of mainstream radio airplay. But on reflection, I think I'm still a bigger fan of her EP, Soviet Kitsch, which feels less polished and rougher round the edges, all soaring vocals and inventive piano coming to together to create both heartfelt and frequently surreal narratives. The song above, then, is taken from Soviet Kitsch, and includes a wonderfully bizarre montage video that reminds me of some of the Smashing Pumpkins better ones, not least 'Thirty-Three' and the excellent 'Tonight, Tonight', inspired by Georges Méliès' silent film A Trip to the Moon.

Monday 27 May 2013

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