Thursday 30 May 2013

Chamberlain 8810CB 10-Foot Belt Drive Extension Kit


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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

National Hardware 7678 Plain Steel Garage Door Left Wind Torsion Spring, 0.243 Wire Diameter by 2-Inch Inside Diameter by 32-Inch Length


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Sunday 26 May 2013

PoetCasting and Samantha Wynne-Rhydderch

I've mentioned PoetCasting on the Wasteland before - an admirable and, I think, extremely valuable collection of audio recordings of established and emerging contemporary poets, professionally put together by the enterprising young poet Alex Pryce. Andrew Motion's Poetry Archive should watch its back.

Well - shameless self-promotion alert - having been featured on the site in a joint venture with literary magazine Pomegranate, showcasing young poets published in the magazine since its beginnings, I've my own feature on the site now, including recordings of four poems from the sparks.

It was great of Alex to come up and record this and, more generally, for her to run PoetCasting so professionally and diligently in the first place (on visiting Sheffield, she recounted how whenever her mother rings her up, she's invariably on a train heading someplace or other to make a recording). Unsurprisingly then, the poets featured on PoetCasting to date span the height and breadth of England, Scotland, Wales and Ireland, and more are always being added. In fact, on the same day my recordings were done, Gregory Award-winning Sheffield writer Chris Jones and Faber poet Maurice Riordan were also recorded reading, both of which'll no doubt be added to the site soon.

Do take a look at the PoetCasting site then, and if you like the sound of what you find there, subscribe to their feed for regular updates.

Also, on a slight tangent, for those interested in the work of Welsh poet Samantha Wynne-Rhydderch, my critical perspective of her poetry is now up on the British Council's Contemporary Writers website.

Saturday 25 May 2013

Friday 24 May 2013

Liftmaster 412HM 390MHz Universal Garage Door Opener Coaxial Receiver


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Wednesday 22 May 2013

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Sunday 19 May 2013

Poetry at The Runaway Girl


This took place last night (should've posted it up yesterday for Sheffield-based readers but never got around to it) and was a fun, entertaining evening. So I may do a write-up / review thingy of it in the near-ish future.

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Saturday 18 May 2013

One Acre Yard


A look at Roddy Lumsden's 'One Acre Yard'


Where are we? The poem has brought us to a large yard in Fargo, the biggest city in North Dakota. It is April, we are told; our poet and his companion have “missed the thaw by days”; Spring has come late. The yard, we find, is burdened with feelings that go unspoken – washed-out and fatigued like the vowel sounds in its “narrow palette / of oatmeals and ochre”, it is also redolent of a loitering loneliness, as “only the spruce / busks its darkness down each limit”. So the scene is set, the wavering light in those browned yellows against a dwindling, clinging darkness. We feel like we have been here before – not exactly here, but somewhere remarkably similar: that same sense of an imperceptible yet soon-to-be seismic shift; that same taking stock when we hadn’t quite intended or expected to; these wavering feelings beginning to settle. Clearly, we are at the edge of a very specific moment – “all that has fallen these months”, be it “beer tins” or “deer scat”, or the unmentioned, off-stage, hinted-at emotional grief of our two onlookers, “now gains at last the effortless glory / of standstill, dropped through the slush / those last redemptive inches.” That sibilance is spot-on, the softest of landings, though no doubt also, somewhere in there, the slip and skittishness of feet on ice, and again it comes in this “story / twisting in its final paragraphs, debris settling”. Similarly, we are barely aware of the scheme of half-rhymes studding the ends of each quatrain’s lines, holding the scene together in its little linguistic magic trick, all the while threatening to fracture and break under our feet, like ice on a river. Yet like the “frozen raven / who has wintered here” who now “welcomes the sun and softens, unzips / his coat to show his bones and basks”, we sense all might yet be okay, even if uncertainty is still present, as “warmth”, somewhat unnervingly, “infects the air”, and a “terrier inspects” the “snow-stung grass”. Time for the poem’s onlookers to take a risk, then, to set scepticism aside, and believe their luck as well as to test it: “We walk the acre arm in arm, / still melting from our shyness”. The ice on the river has gone, “freshened and shirring at its banks”, and so, too, “all harm” is “on ice”, “the worst of winters over.” Deceptively simple in its conjuring of these complex emotions, the poem brings us to new beginnings through the familiar conceit of nature’s rebirth, something that would be pure cliché in lesser writing. Instead, here it is understated, quietly inventive, and – best of all – beautiful and strange in the same breath. Though with poet and companion relaxing a little, time, it would seem, for us to leave.




'One Acre Yard' is from The Drowning Man, included in Mischief Night: New and Selected Poems (Bloodaxe, 2004)

Friday 17 May 2013

Digi-Code Model CR2149 Universal Garage Door Opener Safety Beam Sensor


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Digi-Code Model CR2149 Universal Beam Sensor Model CR2149 Universal Beam Sensor The universal beam sensor works with all major brands of garage door openers - Chamberlain, Liftmaster, Craftsman, Overhead (1995+), Genie, Challenger, Stanley, Linear, Moore-O-Matic and Raynor models ( built by Chamberlain ). The beams have a self programming feature which allow the installer to simply hook up the beams to the existing wiring, mount the units to the wall and the job is complete. This unique product provides the following features: Superior filtering from sunlight Reduces your inventory of replacement beams Competitively priced Quick retrofit installation Non-polarized ( so there is no way to hook them up backwards ) Now you can go out to a job site with one of these universal beams on the truck and feel comfortable that you can solve the beam sensor problems without having to return. The Universal Replacement Beam Sensor Kit includes: One Sender and One Receiver Module Two Mounting Brackets Four Wood Screws Instruction Sheet


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Thursday 16 May 2013

Led By Bison: Seafood



I've been a fan of London-based alt-rock band Seafood since I first saw them performing at Wolverhampton's Wulfrun Hall about seven years ago, shortly after the release of their second album When Do We Start Fighting. Flavour of the month for a whole, uh, month back in 1998 (around the time of their first release, EP Messenger in the Camp), they've since had four albums, the latest being Paper Crown King, never quite breaking into the mainstream despite considerable radio airplay and praise from the likes of Steve Lamacq. When you consider much of the empty-headed chart schmindie that sells by the bucketload, then, this seems a shame, but as long as they keep making music for their small, dedicated fanbase, it suits me fine. The track above is 'Led By Bison', perhaps the best from their first album, and well worth a listen.

Tuesday 14 May 2013

Review: Don Paterson's Selected Poems



The title poem of Don Paterson's first collection, Nil Nil (1993), tells the sped-up tale of a football team's inglorious decline. Yet its panoramic sweep takes in much more than sport. The comedy and search for ontological significance typify the mix of the quotidian, the surreal and the mystical which remain a hallmark of his writing. "From the top, then, the zenith, the silent footage" we witness a "fifty-year slide / into Sunday League", but the missing dash found in a football score also makes the title a strange double negative. "Nil Nil" is both nothing and everything, it seems to say. Both poem and collection introduced readers to a striking new voice.

Sean O'Brien has written that "few poets can have covered as much ground in 20 years as Don Paterson". Reading this remarkable Selected Poems, which ranges from the ludic depths of Nil Nil to the plainer cadences and frankness of 2009's Rain, one is inclined to agree. Yet, coupled with "Nil Nil", Rain's title poem brings us full circle, as another double negative surfaces between release and restraint: "and none of this, none of this matters". Alongside the poetry's stylistic variety and growing tonal authority, what Paterson's selection from his six volumes to date reveals is the underlying thematic consistency of his oeuvre.

The poems are often full of seeming paradox and contradiction, a feature which can wrong-foot just as it provokes and delights. "I took myself on for the hell of it," says the poet of playing pool against his double in Nil Nil's "The Ferryman's Arms", a sense of poetry's artifice jostling with the conviction that a poem should enact some seriously complex thinking. The persona is swaggering yet (literally) divided; the planetary order of balls on the pool table is undermined as "physics itself becomes something negotiable"; the false doppelgänger ends up seeming truer than the departing speaker; strangeness swells up everywhere through initially grounded reality. Nothing is ever quite as it seems. Just as the speaker's lover in "The Trans-Siberian Express" is seen "shedding veil after veil", these poems seek truths beyond the waking dream-world through which we blunder. The darkness comes to envelop Nil Nil. A handful of poems explore social class, not least the punchy "An Elliptical Stylus", but these also tend towards eerie territory, or else unpick the constructed nature of the self.

Paterson's follow-up, the irony-laden and audaciously titled God's Gift to Women (1997), is represented here by some of his most arresting poems. "A Private Bottling" beguiles with heightened lyricism and colloquialism, achieving a gently damning commemoration of the poet's former lover, both lifted and undermined by its intoxicated context of late-night whisky sampling. The tonal range is extraordinary. Where "Addenda" develops delicate snapshots of the poet's brother's lost life, the unsteady formal prowess of "Imperial" reinforces just as it collapses notions of male authority in a subtle send-up of the Renaissance love poem. Combined with the unreliable narrative of its Marvellian centrepiece – part dramatic monologue, part seemingly confessional catharsis – God's Gift documents the exhilarating struggle between Paterson's wilful sassiness and a meditative lyricism fighting for more ground.

These issues were neatly sidestepped in The Eyes (1999), a book comprising loose "versions" after the Spanish poet Antonio Machado. Notable for their unabashed spiritualism, the poems also deliver a refreshing anonymity amid the clamour of much contemporary verse. As "Poetry" has it: "Beneath the blue oblivious sky, the water / sings of nothing, not your name, not mine." Similarly in "Sigh", a fountain "sings", yet "speaks / its love-song / to no one".

It will be a shame if The Eyes – not least "Advice", "Profession of Faith" and "Siesta", all included here – is solely remembered as catalyst to the marked turn in Paterson's work evident from Landing Light (2003), in which the dark ego of the divided self blends with the emotional scope inherited from Machado. A sizeable, even baggy fourth collection, it is represented here by more work than from any other volume. Starting with "Luing", a declaration of our capacity for love, we come to poignant sonnets for the poet's sons, moving through polished rehearsals of the doubling motif and a fantastic reworking of "The Forest of the Suicides" from Dante's Inferno, before arriving at arguably Paterson's most ambitious poem to date, "The White Lie". This philosophical treatise expounds – just as this Selected Poems reveals – what he has long seen as poetry's transformative responsibility, as the world we think we know is "reconsumed in its estranging fire". It sets the tone for 2006's Orpheus, a version of Rilke's masterwork which sharpens the questing at the sonnets' cores: "But is that true?", "What was real in that All?", "O, where are we now?"

For many, Paterson's most recent collection, Rain, placed him among the front rank of English-language poets now writing. It is well represented here, with poems such as "The Swing", "The Circle", and the disquieting elegy for the late Michael Donaghy, "Phantom", all testifying to a stepped-up musical intelligence, a pithy idiomatic ease that owes debts to Robert Frost and Robert Garioch, and the undiminished ability to elevate and surprise, revivifying traditional forms with panache. Dynamic, interrogative and unsettling; crafted yet open-ended; fiercely smart, savage and stirring – from the get-go, Paterson's poetry has been essential reading. This Selected Poems blazes with the best of his meteoric ascent.


first published in The Guardian, Saturday 19 May 2012

Chamberlain 8808CB 8-Feet Belt Drive Extension Kit


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Sunday 12 May 2013

Genie Sequencer Board 34019R


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Saturday 11 May 2013

Current Issues

A little update on the mag front: I've poems in recent issues of Poetry London (No.61), The London Magazine (Aug/Sept 08) and the revamped Magma (no.42), which also has an impressive new website and blog.

In Poetry London, there're also excellent poems from Helen Mort and Jack Underwood, alongside Daljit Nagra, Andrew Motion and my fellow Hallam MA student, Susan Burns. Well worth a look. The London Magazine includes a wide selection of poems and reviews, including new work by Matthew Sweeney and an interesting review from Christopher Horton of new collections from Salt poets Chris McCabe and Simon Barraclough. And there's so much in the latest Magma it's hard to know where to start - highlights include a feature on the Gregory Award winners with a new poem from each, poems by Claire Crowther, Mark Waldron, Beverley Nadin and Vicki Feaver, and Blake Morrison's thoughts on Larkin's 'Poetry of Departures'.

Next Friday also sees the launch of mine and Emily Berry's debut tall-lighthouse collections: The Sparks and Stingray Fevers. I'll post an invitation up for it later this week, but for those interested, the Facebook group's here.

Thursday 9 May 2013

Genie 18004B Motor Starting Capacitor


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Wednesday 8 May 2013

Critical Perspective on Mick Imlah

Some months ago, shortly after the poet Mick Imlah sadly passed away and his excellent collection The Lost Leader won the Forward Prize, I mentioned that I had written a piece for a profile of his work due to appear on the Contemporary Writers website. A few Wasteland readers expressed an interest in reading this piece, and as unfortunately it won't now appear, I thought I'd include it here instead. I hope it gives a flavour of Imlah's work, of which I'm a big fan, and encourages those not familiar with both of his collections (the aforementioned Faber volume and his first book, Birthmarks, published in 1988) to search them out.


Mick Imlah: A Critical Perspective


Alongside Michael Hofmann’s Nights in the Iron Hotel, Mick Imlah’s Birthmarks (1988) is perhaps the most original debut poetry collection of the 1980s: witty, irreverent and often darkly comic, its poems tread a line between the stylistically prosaic and the syntactically inventive and, in many instances, reveal an impressively unique music. As Neil Corcoran noted when reviewing the book in the Times Literary Supplement, ‘unusually for a first volume of poems, Birthmarks sounds distinctly like itself’, and it is certainly true that the collection resists comparison to much contemporary, even modernist, verse: in many respects, Imlah’s influences are Victorian. This is evident in his Tennysonian mastery of rhyme, rhythm, assonance and alliteration, as in ‘Silver’ (‘in block or chain / [it] Will not sustain / The nameless slaves / Who row it through the waves // As long as the old, crude / Hallmark tattooed / On every chest / Proclaims them second-best’), but more specifically in poems such as ‘Tusking’, a deft exploration of colonialism that, in its African setting of an imagined elephant hunt, ironically recalls the imperialistic works of Kipling:

‘In Africa once
A herd of Harrow
Elephants strayed
Far from their bunks;
Leather, they laid
Their costly trunks
And ears of felt
Down on the Veldt.

All forgot
The creep of dusk;
A moonbeam stole
Along each tusk:
Snores and sighs.
Oh, foolish boys!
The English elephant
Never lies!’

As is characteristic of Imlah’s work, this wry and knowing humour rises through the registers (in this case, to a suggestive yet starkly vivid description of the dead creatures: ‘Out in the bush / Is silence now: / Savannah seas / Have islands now, / Smelly land-masses, / Bloody, cold, / Disfigured places / With fly-blown faces’), ending with a subtle commentary on post-colonial guilt: the ‘tinkle of ice [in whisky] and Schubert’ being played on an ivory-keyed grand piano, intoning: ‘Pity the hulks! / Play it again!’. As its title suggests, then, Birthmarks relishes in exploring the complex issues surrounding (and intertwining) our origins, identities and wider history, and does so with both ingenuity and sharp intelligence. In poems such as ‘I Have a Dream’ and ‘Cockney’, for instance, Imlah’s use of narrative and dramatic monologue (a form he frequently adopts, bringing to mind another Victorian poet, Robert Browning), serves to cunningly question received ideas on race and class respectively, but also to demonstrate his gift for demotic speech and an eye for the contemporary. In ‘Goldilocks’, a university lecturer finding a homeless Scottish man in his bed makes for a particularly well-drawn character:

‘Now I’m keen for us all to be just as much worse as we want,
In our own time and space – but not, after midnight, in my bed;
And to keep his inertia at bay, I went for the parasite,
Scuttling him off with a shout and the push of a boot

That reminded his ribs I suppose of a Maryhill barman’s,
Until I had driven him out of the door and his cough
Could be heard to deteriorate under a clock in the landing.
(Och, if he’d known I was Scottish! Then I’d have got it.)’

Elsewhere, Birthmarks’ characters are as diverse as an unhinged neo-Darwinian biologist (‘The Zoologist’s Bath’), an outraged tourist (‘Visiting St Anthony’), an unborn foetus (‘Abortion’), and in the brilliant ‘Lee Ho Fook’s’, the owner of a Chinese restaurant, saved by a builder from a ‘vat of boiling and thunderous tea’. There are also three sets of sequences in the collection which further demonstrate Imlah’s considerable ambition: ‘The Drinking Race’ is by turns a funny and grave look at alcohol, ‘Mountains’ adopts peaks from Snowdonia to the Himalayas as springboards to various existential musings, and ‘from The Counties of England’ takes brief, often droll snapshots of everywhere from Rutland’s ‘Uppingham streets / And the alleys of Oakham’ to the imagined ‘battle of Berkshire’, depicted in much the same manner as the Anglicised Biblical scenes in the paintings of Stanley Spencer. In ‘Oxfordshire’, the entirely believable but likely invented project of ‘Oxford Rebuilt’ (a supposed plan drawn up in 1943 to restore Oxford after forecasted German bombings – ‘Nuffield to Churchill: We’ve got the phoenix, now you deliver the ashes…’) also demonstrates one of Imlah’s recurring tendencies: simultaneously delighting and deceiving the reader, thus revealing the world – as good poetry should – to be the questionable, random and uncertain place it is.

Following a twenty year hiatus, Imlah’s second collection, The Lost Leader, appeared in 2008. Winner of the Forward Prize (Best Poetry Collection of the Year), it is one of the most wide-reaching, surprising and varied volumes of poetry to have been published in years: taking Scottish history from ‘the year dot’ to yesterday at a Dumfries bus depot as its starting point, it makes for an almost overwhelming, thoroughly incorporative tour de force. In part a response to Edwin Muir’s assertion that ‘no poet in Scotland now can take as his inspiration the folk impulse that created the ballads, the people’s songs and the legends’, the collection features a Scottish cast ranging from William Wallace to Fergus of Galloway, Sir Walter Scott to the title poem’s ‘lost leader’, Bonnie Prince Charlie; revivifying Scotland’s history and folklore in often wildly imaginative ways. What makes The Lost Leader such a brilliant book, however, is that while Scotland may be Imlah’s stock material, the true subject matters of the poems reach much further. ‘Domestic’ discusses the traits and general character of the Scottish terrier, for instance, but does so to explore such ‘sagacity, nerve, and the wherewithal / to make the most of little’ more generally, while the fantastical ‘Mary Queen of Scots’ has a train by that name telling another, ‘Joan of ‘Arc’, ‘if they [the passengers] had to wander back in time, / […] what would smack them in the general face’ would be ‘a great big smell – / […] composed of gunpowder, incense as well, / […] you know the stuff / I mean, Joan; the “English” word was ‘faith’’; something which both binds and collides Scottish, English and European histories.

If the first half of The Lost Leader is both a riposte to Muir and an assertion of Imlah’s Scottish heritage (in half-mocking response to the late Angus Calder’s statement that ‘few people thought Mick Imlah […] was a ‘Scottish poet’’), then the second half is perhaps most memorable given its gentler, more sincere and sometimes sombre tone, as well as its more directly personal subject matter. This includes a thoughtful and moving elegy for Stephen Boyd, a perfectly-pitched love poem (‘Maren’), and an affecting piece addressed to the poet’s young daughter (‘Iona’). While heartfelt, however, these personal poems can still be oddly and gravely humorous, as in ‘Past Caring’, where the narrator emptying the flat of an alcoholic female friend states: ‘The gin! / No wonder you’re thin; / Hundreds of bottles of gin; / And feeding them singly into the ring / My arm grows weary from shifting the bottles of gin; / A numbing collection of lots of exactly the same thing.’ As evident in ‘Gordon Brown’ (where the poet recalls meeting not Britain’s ‘lost leader’ but the rugby player, nicknamed ‘The Ayrshire Bull’), there are also repeat references to sports and games throughout Imlah’s work, a much underused subject and device in contemporary poetry as illustrated by the clever vignette ‘London Scottish’, remembering the rugby teams sent to fight in 1914.

On the strength of only two collections, then, Imlah’s highly inventive, quick-witted and often surprisingly executed poems have made his one of the most significant voices in contemporary British poetry: the many approving and admiring appraisals of his work – from poets and critics as different as Andrew Motion, Frieda Hughes, Bernard O’Donoghue, Mark Ford and Stephen Knight – testament to his ample talents and evidently wide appeal. As Douglas Dunn has noted, ‘Imlah’s accomplishments [are often] characteristic of contemporary poetry at its best’, and as longstanding Poetry Editor of the Times Literary Supplement, a position he held from 1992-2008, it is hard to imagine a contemporary poet more suited to the role.

Imlah’s death in early 2009 – a year after being diagnosed with motor neurone disease – robbed the poetry world of one of its most incisive, original, and talented practitioners.


Ben Wilkinson, 2009
Originally written for the Contemporary Writers site, © British Council

Tuesday 7 May 2013

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Monday 6 May 2013

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Sunday 5 May 2013

The Bloody Apprentice


A friend pointed me to this the other day, and quite funny it is too - footage of the BBC's popular reality show The Apprentice, painstakingly edited so as to make a monkey out of Sugar and its contestants (though they often do a fair job of that themselves). Contains some strong language though, so don't watch if you're easily offended.

And while we're on the subject of The Apprentice - does anyone actually know what job it is that the winner gets? Organising the stationery at Amstrad HQ? Or perhaps researching new areas for Sugar's businesses to expand into - as in Harry Hill's gag about 'Amsstairs' ("No, we don't sell 'amsters, we sell Amsstairs")? Any suggestions welcome.

Saturday 4 May 2013

The Shape of the Dance

Q: Where is poetry heading? Is poetry that homogeneous an activity?

MD: Substitute the word 'music' for 'poetry' in those two questions and you see the kind of assumptions made about poetry. Blues musicians on the South Side of Chicago, jazz pianists in London, fiddlers in West Clare, electro-acoustic composers in Rotterdam - we wouldn't dream of measuring them by the same standard, ranking them or telling them where we think 'music' is going. Poetry is not an homogeneous activity. And art has no direction. That is spatial illusion generated by early twentieth-century ideas about 'advancement' and 'progress'. If it's hard to see this now, it's because the illusion is augmented by the demands of consumerism. Our economy depends on the notion that things and ideas become obsolete and have to be replaced. Products of art and literature can be sold more effectively if they're marketed as 'new' so that newness acquires an all-pervasive fetish value [...]

interview excerpt from The Shape of the Dance: Essays, Interviews and Digressions,
a collection of prose by the late Michael Donaghy.

Friday 3 May 2013

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