Month: June 2013

Magazine focus: Rattle

Rattle poetry magazine

I (oh no, starting a blog post again with ‘I’) was just thinking it would be fun to occasionally feature a specific poetry magazine: mention what I like about it, give a flavour of what’s in it, fill you in on their submissions policy etc.

I’m currently a tad stressed. First I’m trying to stay civil with not one but two sets of lawyers about two completely different matters, then there’s the order for 500 CDs for my choir that has turned into a nightmare, I’m worried that the recent insect bites are reigniting a years-old stress-related skin condition, and about to spend 4 days as a ‘helper’ on a sixth formers’ trip to Belgium when I don’t know any of the students and I’m intimidated by teenagers. Enough about all that, but maybe it’s appropriate to start with a magazine called Rattle.

[Nonetheless I had a lovely day yesterday, particularly on Facebook. Thank you to everyone for your very kind comments about the Hamish Canham Prize.]

I  don’t know how I came across Rattle, but I liked the sound of it, plus I saw they had a competition on at the moment which attracted me. I’ve been tiptoeing around US poetry for a while, first after encountering the Best American Poetry 2012 and then more recently being sent a copy of Poetry unexpectedly. I’m intrigued by the fact that I know none of the names, and  there are styles and themes that seem very different to what I read in UK magazines, although I’m struggling to put my finger on WHAT exactly.

And so to Rattle. It’s a bit bigger than Poetry, kind of A5 but a bit longer. Perfect bound, nice quality paper and production values generally (including lovely blue endpapers)  I was intrigued by the variety of work (although it felt a little heavy on ‘shock effect’ writing – no fewer than 2 poems had the word ‘penis’ in the title – popular culture, humour and shape-poems all well-represented) and the very stylised ‘Contributor Notes’ in the form of first-person statements (“When I was a kid, listening to Nick Cave and the Bad Seeds, I thought that art was going to give meaning to my pain…”)

I particularly enjoyed the extended conversation between Rattle Editor-in-Chief Alan Fox and Ellen Bass, rich with insight. Made me want to read Ellen’s work, definitely. Extract:

“I say to my students, ‘Ok you’ve got a metaphor there. Maybe it’s not your best metaphor. Why don’t you make a list of 20 metaphors that might describe this.”  If I say to myself, ‘OK, I need a metaphor here and it’s got to be the exact right metaphor’, I feel like I may as well kill myself. But if I brainstorm 20 or 40 metaphors that don’t have to be good, I may loosen up my mind enough and then I might look at that list and the right one might be in there.”

So here’s the skinny (see, I’m getting into the lingo!) on Rattle.

Based: California

Editor: Tim Green

Published: Quarterly

Features: Poems, translations, interviews, reviews & essays.

Annual Subscription: $20 (I paid $30 and for that it’s mailed to me in the UK, and it arrived within a week although they do say to allow much longer than that)

Submissions policy: only unpublished work but simultaneous submissions OK. Expect to hear within 4 – 8 weeks, email submissions OK. Full details here.

Typical size: 100 pages

Longest poem title: ‘Things That Happen During Pet Sitting I Remind Myself Are Not Metaphors For My Heart’ by Cristin O’Keefe Aptowicz (a close second was ‘Ringo Starr Answers Questions on Larry King Live About the Death of George Harrison’ by Roy Bentley.)

Are you familiar with Rattle? Had something in it? What are your impressions? I did like the fact that they are firm but reasonable about submissions – all email submissions are acknowledged automatically, simultaneous subs OK. Also when I had a question my email was answered same day by the Editor. And the magazine arrived super quick. Impressive.

Unaccustomed as I am

(So sorry about the weird asterisks etc in the following – just that last time I mentioned the B word I got immediately spam-commented and spam-followed by some decidedly un-poetic peeps.)

It’s been quite a busy week, easier to do it in reverse order – yesterday and Friday I was in London at the BritMums conference, speaking about b* logging (actually about b* log design, which really got my  imposter syndrome alarm bells ringing. Bad enough presenting at a conference where I felt like an alien already – being about 20 25 years older than the average attendee and 100% less maternal.) That doesn’t mean I wasn’t delighted to speak there of course, and all the people I met were lovely. The event certainly had a friendly, supportive vibe. But nonetheless I was a teensy bit out of my comfort zone.  Plus, the Waterstones stand at the show didn’t even have my book for sale – claiming they couldn’t get hold of it, even though the publisher pointed them to reserve stock for them to access. Even though I’m not on a royalties deal, it didn’t look good that my book wasn’t there. GRRRRR. ( I really liked the venue by the way – The Brewery, in the city – a great change from the terrible Hilton-type identikit conferences.)

Britmums Live weekend in London
From The Brewery to Catford precinct – two sides to London

Staying overnight in London did mean having the chance to see one of my good friends from schooldays and stay in her lovely big quiet house just a stone’s throw from where we went to school. It’s an area of south east London which as a teenager I never had much time for, but funny how going back there all I see are wide roads, leafy parks, a greengrocer on every corner and PLENTIFUL public transport links. *Sigh*

Last Monday I was in Tonbridge giving a talk on .. yes … the B word .. to a group of writers. The group is a newly formed ‘hub’, or outpost of New Writing South. The group included quite a few poets, including the lovely Abegail Morley – always nice to see a friendly face or two at these things! I was ready to feature Abe’s fab blog The Poetry Shed  plus a whole host of others in my talk, but was thwarted by the Great Firewall of Kent County Council. Oh yes. Internet access? No problem – you just can’t bring up any actual websites, especially anything to do with poetry. There might be some LANGUAGE I suppose. So the talk about b* logging took place without visual reference to any actual b* logs. It kind of reminded me of the time I had to take an exercise-to-music class and my tape machine broke down. (In case you’re wondering, I just counted out loud. A lot.)

On the submissions front I’ve been sending off quite a few bits and bobs – some more hopeful/speculative than anything, but I seem to have written a good amount of stuff the last couple of months and although I’ve not had the chance to workshop any of it I’m just going with my gut instinct about what is and isn’t good enough to send out. So either way, the second half of the year should be eventful. I sent some poems to Under the Radar back in March, so I’m hoping to hear from them soon (?) – I’ll let you know, whether yay or nay. And then there’s that bit of good news I had about a month ago and it STILL hasn’t been made public and I’m getting REALLY itchy about it (or maybe that’s that the humungous mosquito bites I sustained the other day.)

That’s all for now – thanks for reading and I hope you have a super week.

Getting poetry out there

Charles n Di mugAs I sit down with a cup of tea in my favourite mug (pictured above – just an excuse to feature it, really! I inherited it from my mum, it used to be one of pair but the other got broken, and I’m so attached to this one I dread anything happening to it. It’s not as if I’m a raving royalist but I love the kitsch of it, so wonderfully lacking in irony, plus there’s just something touching about this reminder of Charles and Di in their youth, before all that stuff happened…) erm, where was I?

Anyway, I was just thinking about my fellow book group members who I’ll be seeing tonight, and how popular book groups seem to be, and why more people don’t read poetry .. the  perennial question! I was also thinking of a conversation I had earlier this week with Margaret Wilmot about her new pamphlet, published by the highly respected Michael Laskey at Smith’s Knoll, and the challenge of distribution and sales. I was also thinking of a blog post I read yesterday at Rack Press Poetry about Amazon listing pamphlets as ‘unavailable’ when they actually are (but not from Amazon).

There is so much intelligent debate around the issue of how to get more people reading and buying poetry. I enjoyed this recent post by Judi Sutherland, for example, and her ideas of what she would do if she were the ‘marketing manager for UK Poetry plc’.

Of course, the distribution issue is classic chicken-and-egg. Bookshops won’t stock poetry from publishers or authors they’ve never heard of – not just because they fear they won’t sell (they can always send them back) but because the valuable retail space they would occupy is more profitably allocated to yet more copies of the latest E L James or whatever. So bookshop browsers never come across any poetry books, don’t know even the names of any poets and therefore are never going to ask for poetry or poets.

I know this argument well, from my experience in the sports industry. In the 1990s, UK sports retailers were notoriously male-sport-oriented. Independent stores in particular were owned and managed by men. They refused to stock a decent range of women’s sports shoes, their argument being that ‘women won’t pay more than £30 for a paid of trainers’ or even that ‘women buy kids trainers because they go up to their size and are cheaper.’ It didn’t seem to occur to them that women were only buying those products because they had no choice, and didn’t know what else was available. Retailers wouldn’t take the risk, didn’t understand what female customers wanted and didn’t care about the product except in terms of SKUs (stock keeping units) and getting the highest turnover per-square-foot.

Getting retailers to stock women’s sports shoes took an awful lot of work: sales reps had to be educated and incentivised, demand had to be generated and demonstrated, point-of-sale material had to be funded together with other shared-risk schemes and special conditions, favours had to be called in. The manufacturer had to put their shoes on high-profile female athletes and use them in advertising. All before retailers would take a chance on women’s shoes. And we’re not talking about a tiny shoe manufacturer that the retailer had never heard of. This was Nike. (You may think things aren’t much different today but trust me, it’s better than it was.)

I don’t see how it can be any easier for a publishing niche such as poetry, especially considering the tragic state of retail in general right now. The excellent Inpress appears to do a great job on behalf of independent presses, getting poetry books into bookshops. But in general, retail does not take risks, and if I ever have a pamphlet to sell I won’t hold my breath for Waterstones or Foyles to stock it.

So can anything be done to stimulate demand? I think we have to devise more ways to get poetry onto the radar of what Judi Sutherland calls the ‘nearly theres’. I’ve always loved Poems on the Underground, for example. I’m not so keen on the watering down of poetry by harnessing it to something else ‘more popular’, such as bringing out a poet or two at a music festival. I worry that it may reinforce the association between poetry and song lyrics, when it would be nice to see them have an argument occasionally. But maybe that’s just me.

Perhaps all of us who are in a book group should introduce a volume of poetry when it’s our turn to choose, rather than a novel. Perhaps we can help get poetry into more public spaces – shop windows, noticeboards, on the backs of bar menus, on buses, on mugs. Perhaps we should think like old-style ‘interruption’ advertisers. A poetry short in place of one of those endless trailers before a film. How about some guerrilla poems left around town on tables or in shops – the knitters and crochet people do this very well! We need more (some!) poetry on TV – come on, film-makers, I can think of half a dozen ideas for a compelling poetry-themed programme.

OK my tea’s cold now, so rant over. Let me know your thoughts. Have we really tried everything? Is poetry destined to be forever a teeny drop in the publishing ocean?

Margaret Wilmot pamphlet launch

margaret wilmot

What a lovely relaxed evening we had yesterday at the Lewes Arms for the launch of Margaret Wilmot’s Smiths Knoll pamphlet Sweet Coffee. The upstairs room at the Arms is fairly intimate – I’ve seen it packed once or twice on Lewes Poetry nights when there’s been a big name draw, but on the whole it’s well suited to a smallish gathering. Last night was well supported by Margaret’s fellow ‘Green Room Poets’, friends, family and local poets. A spread of food was a very nice touch but unfortunately I had a risotto waiting for me at home!

Margaret is originally from California, and some of the poems in the pamphlet are reflections on her ‘american’ period. I particularly enjoyed  ‘America, life’,  a kind of travelogue poem on leaving California in 1969 and crossing the US hinterland, full of energy and optimism.

There followed a range of poems including some poignant work on theme of old age. Memorable for me were the eponymous ‘Sweet Coffee’ and ‘In my box called the imagination’  – you can read this on Margaret’s Poetry PF page.

We also heard a couple of poems each from Green Room Poets Judith Cair, Celia Dixie, Andie Lewenstein, Mandy Pannett and Penny Shepherd. I really loved Andie’s poem about a mermaid.

I apologise for the quality of the photo – I should really take a proper camera to these dos!

I’m not entirely sure how you can get hold of the pamphlet as Smiths Knoll is now closed, but I would think contacting Margaret directly would be an idea, perhaps via Poetry PF.

Upcoming events

Just a quick one … typing is a tad painful having just seen the physio about my shoulder (impingement of the supraspinatus and subscapularis, in case you’re interested).

A few things I’m looking forward to this month:

Tomorrow at the Lewes Arms is the launch of  Margaret Wilmot’s Smith’s Knoll pamphlet ‘Sweet Coffee’ – should be a nice Lewes poetry event.

Monday 17th – Brighton Poetry Stanza workshopping group – although actually I can’t make it because I’m due to give a talk about blogging at New Writing South’s Tonbridge venue (time and venue tbd).

Friday 21st – Saturday 22nd – Britmums Live – the UK’s biggest bloggers’ conference, apparently (the people who run it aren’t british and I’m not a mum, but hey!) I’m making my ‘panel’ debut – always wanted to be on a panel! – and also giving a talk on blog design.

Thurs 27th – Needlewriters in Lewes – Clare Best & Sacha Dugdale – should be great.

First ‘Poetry Unplugged’ experience

poetry unplugged at the Poetry Cafe

So much for my resolve to get out and do more readings/open mics this year.

I haven’t yet plucked up the courage to tackle the Troubadour, although to be honest it’s partly the thought of making my way there (actually it’s the getting back from west London –  late at night – a mission with Southern Rail, believe me) and not knowing if I’m going to make it on the open mic list or not. But I like the look of their Monday evening events, with some impressive guest poets appearing.

Last night however I took part in my first Poetry Unplugged open mic night at the Poetry Cafe in London, accompanied by my up-for-anything friend Lucy. It was about this time last year that I persuaded her along to the Betsey Trotwood for an Ambit launch, where I managed to disgrace myself by drinking too much and she did an impromptu guest spot behind the bar. I’ve never been published in Ambit but I’m sure that’s just a coincidence.

Anyway, back to last night. It was a reasonably full room – pretty impressive that it’s been going for over ten years and it’s every week – I marvel at the stamina of host Niall O’Sullivan, who keeps time with joviality and a very visible iPad display. Most impressive was his ability to say people’s names both before and after they read, and come up with a little linkage banter that made reference to the poems we’d just heard. What a pro.

The first half was an interesting mix of newbies and (I assume) regulars, ten men plus myself. Lucy and I had looked over my poems in Pizza Express and agreed on the two to read – the one where I channel Calamity Jane and the other one a found poem, one of my few ‘funnies’. I think it did raise a slight titter (thanks Lucy!) – but probably too many references to 70s TV shows and not sure I was on the same wavelength as the earnest-looking (and mostly young) audience. Ah well – I still enjoyed reading.

Someone read a lovely poem about a lady who had suffered from dementia in later years and he felt her funeral hadn’t done justice to the person she once was. Probably my favourite of the night, I wish I could remember the poet’s name. Among the others we had some heartfelt lost love/bittersweet memories material,  one long tale in rhyming couplets which apparently was after Edgar Allen Poe (Lucy had to enlighten me on that), some stormin’ political commentary and some (self-described) ‘anti-feminist’ shouty stuff.

Many performed from memory – something I should try to do I think, but I would have to be absolutely word-perfect – nothing worse than forgetting (and telling the audience you’ve forgotten) for breaking the spell. Having said that, the very first poet up stumbled rather towards the end and eventually gave up in a cloud of “fuck its” but all very jolly about it so no-one minded. The last performer entered just as he was announced, giving the impression that it was some sort of show of superiority, or that he couldn’t be arsed to listen to anyone else. This made Lucy and myself less guilty about leaving before the second half, much as I’d like to have heard some women reading (surely there were some) it’s quite an intimate venue and it would have looked worse to leave halfway through I think. And the 21.47 from Victoria beckoned.

PS I’ll certainly go back some time – anyone like to  come with me?

Poetry writers and poetry readers – a tricky issue

Poetry Shelf

It was a small turnout last night at our Stanza reading group in Brighton – just Miriam, Gary and myself! Of course there are all sorts of reasons why that might have been – the first time it has clashed with a sunny evening, plus there’s been some confusion about the start time and content of meetings in recent months due to an unfortunate bookings error by the pub.

The reading group is a relatively new thing which a few of us thought would be fun and would complement our workshopping meetings perfectly. The idea is that we each bring with us copies of a poem for everyone to read, discuss, perhaps learn something from and even spark an interest in seeking out more by that poet. It’s very relaxed and all you need to enjoy it is an open mind. Last night, Miriam had brought a poem by U A Fanthorpe and I had with me two short poems by C P Cavafy  (incidentally, if you’re interested virtually all Cavafy’s poems are online here.)

Unfortunately I didn’t study English at university and haven’t done a Creative Writing course or anything where I would have come in contact with the poetry canon, so I love the idea of being introduced to poetry and having my awareness raised in this way. But the meetings have been pretty quiet. We talked about why that might be. Are those people writing poetry just less interested in reading the poetry of others? Are people put off because they think it’s going to be too academic or ‘serious’? Or do people just want to do their own reading in private and don’t see the point of going to a meeting to talk about it? (Things like weather and time of day are, I think, the kind of issues easily overcome if the desire is strong enough.)

The Brighton Poetry Stanza, being affiliated to the Poetry Society, is all about encouraging and supporting poetry and the poetry community. In my mind that means the whole business of poetry from learning the craft, giving and receiving feedback on work in progress, discovering and reading poetry, supporting poets, going to events (or staging them) and so forth. Since Jo Grigg took on the job of revitalising the Stanza several years ago it really has really taken off – meetings are full, we’re twice staged group readings in Brighton and have started to take part in ‘Stanza Bonanza’ readings at the Poetry Cafe in London.

But people vote with their feet, and Miriam can’t be expected to keep showing up for the reading group if no-one else does. So maybe the group is a lost cause, for whatever reason. One thing we did talk about yesterday was the possibility of combining the reading and workshopping groups in a more structured way. When we’ve tried this informally, it hasn’t worked because everyone just wants to workshop and when you have 10 or more people there’s no time for anything else. However, perhaps at least one person could agree to bring something by another poet. In that way, everyone would get exposed to something by Hughes, Fanthorpe, Dickinson, Duffy or whoever. A little moment of ‘let’s see how the professionals do it / did it’ – sneaking in the ‘educational’ bit. Or is that just too prescriptive/controlling/patronising?

What do you think? Have you been through this yourself? I’m posting a link to this on our Stanza facebook Page also, in the hope that members might have comments or suggestions. Should we just stick with the workshopping and stop inventing problems? For my own part, I just know that for years I used to write poetry, when the only poetry I’d read had been for A level English. I knew I wasn’t writing well, but thought that was all I was capable of. I just didn’t get the connection. When the lightbulb finally went on it led me to raise my game, and for that I’m eternally grateful. I want others to have that feeling.

Image credit: JamesJaffe.com

Where my poetry pocket money has been going

June 3rd and I think I’ve already blown my poetry pocket money for this month.

First of all I’ve subscribed to Poetry London which I’ve been meaning to do for ages, and I asked to start with the Spring 13 issue, which has resulted in both Spring and Summer issues arriving within days of each other. A feast!

Today I was reading John Field’s brilliant review of Ben Parker’s first pamphlet ‘The Escape Artists‘ from tall-lighthouse, and couldn’t resist buying it, being only £4. You can’t even buy a glass of wine for that in London. (By the way, if you haven’t already, do read Adele Ward’s impassioned blog posts about how we MUST buy directly from small publishers.)

Then today I entered the Mslexia poetry comp for the first time, having told myself I needed to enter some competitions this year, but only big ones otherwise it gets horribly expensive. And yes, I have also entered the Bridport – well, a gal’s gotta try! I did have a go at the Mslexia Pamphlet comp last year, but more for the experience of trying to put a pamphlet together than any thoughts of glory – there was none, anyway.

Maybe I’m feeling a bit more confident at the moment having had some good news recently, but nothing I’m able to blab about here, at least for the time being – sorry!

My blog’s seen a flurry of new readers after the lovely Abegail Morley linked to Poetgal from her own blog, The Poetry Shed.  If you haven’t read her powerful collection “How to pour madness into a teacup’ I can certainly recommend it, I found myself reading it in one sitting.