Category: Blog

Seven Questions for Poets #1 – Clare Best

A new series begins here. I thought I’d have a fun Q & A with some of my poet friends, throwing them each seven thorny questions and seeing what comes back. Huge thanks to everyone for playing the game. Stand by for some interesting answers!

First up – Clare Best. Clare is author of Treasure Ground  (HappenStance 2009),  Excisions (Waterloo Press 2011),  Breastless (Pighog 2011) and Cell (Frogmore Press 2015). She’s based in Lewes, which is really how I met her. I’ve had the privilege of taking part in workshops with Clare and also helping out at the Needlewriters, the writers’ collective she co-founded. Clare has a great sense of fun and was quick to rise to the seven question challenge!

1 – What was the last poetry book you read, that you would recommend?

The Long Haul by Alan Buckley (HappenStance 2016) – a beautiful, tightly-worked pamphlet. Very skilled, heartfelt, complete poems, and slow-cooked. Thoroughly recommended. I’m always reading Raymond Carver’s A New Path to the Waterfall and find more in it at each sitting – I’m a big fan of Carver.

2  – Philip Larkin and Dannie Abse are both alleged to have said they only wrote one or two decent poems a year. How is it for you?

The problem is you don’t really know what is likely to be at all decent until quite a while down the line! Probably one to three a year that I feel content with – enough to leave them alone. Lots get chucked out early on, most are just abandoned at some point. There’s a lot of starting…

3 – Do you enter poetry competitions?

From time to time, not often. I prefer sending to mags and journals on the whole, it feels less impersonal.

4 – If someone has never read any poetry, where would you suggest they start?

I think I’d point them towards the Bloodaxe anthologies: Staying Alive; Being Alive; Being Human and Anthony Wilson’s Lifesaving Poems. All are excellent. Oh, and Blake’s Songs of Innocence and Experience.

5 – You’re asked to give a reading at the Royal Festival Hall, to thousands of people. What goes through your mind?

Honestly: at first, well, sheer delight – the fear etc will come later. Then, What the hell am I going to wear?

6 Why is end-rhyme considered a good thing in performance poetry, but rarely found in contemporary magazines?

Good question. There are quite a few odd differences in taste and fashion between the various presentations of poetry. I think if you see end-rhymed poetry on the page first, the end-rhyme sticks out but if you hear it first and read it afterwards you remember the sounds as pleasurable. We probably need clear sound-patterning more in poetry we first encounter through our ears.

7 – A murmuration of starlings, a murder of crows etc – what would you call a group of poets?

Depends on the group of poets. 😉  But how about a ‘plunder’ of poets?

QUICK PLUG:  Clare Best is reading in Edinburgh this Wednesday 17th August, at the Fruitmarket Gallery, alongside Tessa Berring, Isobel Dixon, Alan Gillis, Eliza Kentridge and Rob A. Mackenzie. The reading will include poems responding to the gallery’s current exhibition by Mexican artist Damian Ortega. Doors 7pm – drinks, exhibition. Readings 7.30pm. FREE EVENT! Bar, art, poetry and the special Fruitmarket Gallery festival atmosphere.

Notes from a workshop with Andrew McMillan

As promised in my last post, here are my notes from the workshop I did on Saturday at the South Downs Poetry Festival, with Andrew McMillan. I’m including links at the end to other workshop notes, in case you find these posts useful.

I was really impressed with Andrew’s workshop. It’s tricky to teach a one-off session like this when you’ve no way of knowing who is coming to the session nor what they hope to get from it. As well as asking us to each say (briefly) what we hoped to take away, he also offered participants the chance to feed back after every exercise, and the chance to read aloud the example poems. Andrew had planned the session well and we motored through a lot of great material, but his calm and relaxed style meant it never felt hurried or forced. That’s exactly what I want as a participant – to feel challenged by the material, confident in the teacher and unaware of time passing.

So here’s a summary, in which I hope I’ve captured the essential points.

‘All poems fail – which is why you have to write the next one.’

‘Be prepared to throw your life off a cliff.’

Go to the place that makes you feel uncomfortable. Write the thing you wouldn’t want your mother to read.

How do you get at the plain truth of something and still make it sound fresh? Think about the notions of ‘truth’ and ‘honesty’. Getting to the ‘poetic’ truth might not mean presenting the actual truth of what happened.

The thing you want to tackle may be too big or overwhelming to get to grips with. So drill down to a small detail and let that be a metaphor for the big thing.

Example poem: ‘Your Blue Shirt’ by Selima Hill (from Gloria: Selected Poems. Bloodaxe. 2008)

‘How plain can it be and still be poetry?’

‘All poetic metaphor exists because you can’t find the one word or phrase which encompasses what you really want to say.’

AM loves it when plain language is used to express a simple truth, eg W H Auden: “Thousands have lived without love but none without water.”

Readers need time to pause and think.

It’s important to achieve balance – moments of ‘high poetry’ can contrast with those of mundane or ‘plain’ language – the contrast and balance can make each moment effective. Compare for example to music with its highs and lows.

Example poem: ‘Filling Station’ by Elizabeth Bishop (from The Complete Poems, 1927-1979)

If something’s not working, try stripping out everything that’s not essential – adjectives, fancy verbs, ‘wow’ words etc. Find the ‘survival mechanism’ of the poem. In this way you’re left with something sparse but dense. THEN you can think about building it up.

Example: ‘His Stillness’ by Sharon Olds (fantastically moving!) – from Selected Poems, 2005 (Cape)

Uncertainty can come across as more honest

The idea of not being sure about something can somehow be more honest and can allow a way in for the reader.

In a way, all memory is false because another person present will recall the same thing differently.

Example poem: ‘A Spruce New Colour’ by Tom Paulin (Love’s Bonfire, Faber 2012)

Consider balance and contrast in language choice and tone

Try to avoid writing about a serious subject matter in too high a register – it can seem a bit ‘poetic’, not really honest. Explore ways around this by varying the language.

Example poem: ‘I will love the twenty first century’ by Mark Strand (from the Ambit Magazine Retrospective) – where he gives the more ‘serious’ ideas voice via a third person, which the voice of the poet then undercuts.

One way of framing a serious topic and to foreground it without losing credibility and staying grounded/true is by bookending it with more down to earth details.

Example poem: ‘Dave and the Curried Soup’ by John Sewell (Bursting the Clouds, Cape 1998) – a mid section of energy and sexual excitement bookended by the banal details of a soup (‘The trouble with Jerusalem artichokes…’)

Last thoughts: ‘What people will think when reading your work … is not important’ (ie don’t let that fear inhibit you … you have the freedom to write whatever it is you need to write) – AM says when he wrote the poems in Physical he wasn’t thinking about them being published let alone read!

‘Poems need to vibrate on the page with energy.’

‘Something has to be on the line when you write a poem.’


If you’ve enjoyed this you may be interested in previous blog posts where I’ve passed on words of wisdom from poets:

Notes from a Don Share masterclass

Mimi Khalvati on editing and what to bin

More words of advice from Mimi Khalvati

Tips from Don Paterson

Mimi Khalvati on form, and a few ‘banned’ words

 

 

 

At the South Downs Poetry Festival

When Tim Dawes came to Lewes just a few months ago to talk about his plans for a South Downs Poetry Festival, I admit I was sceptical about whether it could be done in such a short timeframe. But hats off to him, the event happened and from what I can tell, it was a super success.

After a poetry bike ride taking in the length of the South Downs, plus numerous readings and workshops throughout the area, things culminated in a day-long event in Petersfield on Saturday, which I was very pleased to be a part of.

I was there with fellow Telltale Poet Jess Mookherjee, flying the Telltale flag, socialising with fellow publishers/poets and taking in readings and workshops where possible. Being a new festival, it was on a small scale – which made it actually all the more fun. With smallness comes intimacy – everyone was relaxed, poets and organisers accessible, and there was time and space to really talk to people. And we brought cookies – free edibles are always a magnet!

The sun was blazing outside, which made the short walk between venues all the better – although screams of delight from the next-door lido almost made me wish I’d brought my cossie. I even had an enjoyable drive there and back – 80 miles each way through some of Sussex’s loveliest towns, and the A272 was oddly free of horse boxes, cycle races and traction engines. Result! And let’s not forget a memorable warm-up breakfast at the Apothecary Cafe with Jess – we were ON FIRE with ideas by the time we were setting up our stand.

But I digress! The business of the day was of course poetry – Jess and I managed to catch the prize-winning readings of the Havant Poetry Competition, judged by Stephanie Norgate and won by former Brighton Stanza member Anna Kisby with a fine prose poem. Now based in Devon, Anna is a very talented poet who tends to quietly win a lot stuff and deserves a big audience.

During the day there were workshops going on, and readings and performances into the evening. I enjoyed meeting and/or catching up with lots of friendly faces and lovely poet friends including Lucy Cotterill, Hilda Sheehan (sorry we never got to chat properly, Hilda!), Frances White, Hugh Dunkerley, Wendy Klein and Andrew McMillan – whose workshop I managed to get along to and so glad I did – I’ll be posting a full report on this shortly. It was also nice to meet and chat with Alwyn Marriage, who is doing an amazing job running Oversteps Books single-handledly.

My one annoyance was coming out with a phone that I hadn’t charged up properly – a dead phone, DUH! So no photos of our stand (the one above is thanks to the good peeps of Winchester Poetry Festival, taken before we all moved into the much cosier foyer), no pics of the readers, no pics of our superior breakfast, no selfie with Andrew McMillan – tragic!

But despite the lack of pics, it was still a fantastic day. We’re already looking forward to next year’s festival.

Stuff I wasn’t going to talk about here

I think blogging is like all kinds of writing in that one has ebbs and flows – of ideas, of energy, of motivation.

If I were to take my own advice I’d be sure to blog at least once a week in order not to lose readers or to keep my blog coming up in searches. I’d be making sure my posts were subtly laced with key words, I’d be finding my own spin on topical issues, always finishing blog posts with calls to action to encourage comments, always including AT LEAST one external link in every post. Actually that last one is a ‘rule’ I do think is important, because what are blogs if not part of the great linked-up thing that is the blogosphere & its grandad the internet? (Unless of course you are the phenomenon that is Seth Godin.)

As it is, I’m pretty relaxed about all that. My relationship with the online world has mellowed since those heady late-nineties when even eating and sleeping seemed an inconvenient distraction from being on the computer. And every now and then you get a wake up call that puts just about everything into perspective.

If I’ve temporarily gone off the boil with blogging recently it’s partly the fact that it’s The Summer, which as fellow Brits know is short lived and to be enjoyed while it’s here.  It’s also the first summer in our new home, with the novelty of a garden which needs weeding, nurturing, planning and sitting out in. Then the EU Referendum delivered the biggest shock I’ve experienced in my lifetime, and I worry more about the future now. I’ve also had breast cancer. I say that in the past tense, as I’ve been reassured by all the wonderful people who treated me that the rogue cells have gone. Only when I knew the prognosis did I start telling some people, on an individual basis, but not everyone. I didn’t want to make it a thing of it on social media or on my blog, I didn’t want a stream of sympathy or advice or sad face emojis, however well meant. Oddly, (given the ‘confessional’ nature of this blog at times) that wasn’t for me. A very good friend said her approach to breast cancer was to treat it as ‘a minor inconvenience’. Luckily for her, and for me too, it turned out to be exactly that. Onwards.

 

When the poetry magazines arrive…

… it’s always exciting, especially of course if you’ve got a poem in it. In the last couple of weeks I’ve been enjoying The Interpreter’s House issue 62, featuring an augmented brace of Telltale Poets (ie 3) and Brittle Star 38.

Both mags are famous for their striking covers, and my first thought when I saw Martin Parker’s design for Brittle Star was ‘Kate Bush!’ Check it out –

Never For Ever cover art

Clearly they are not the same, but it goes to show how many hours I stared at this album cover and how embedded it is in my memory.

The INSIDE of the magazine is of course the thing, and I enjoy the editorial and reviews as well as the poetry. I’m not big on short stories in poetry magazines, although I can be persuaded to read them occasionally. I know it’s common for magazines to do both, but I have a bit of a one-track mind.

Also just through the letterbox is the new Poetry Review (nothing in there by me, but I live in hope – although I haven’t actually submitted there for a while, and you can’t win it if you’re not in it. ) Some nice news though – I was just reading about Ian Humphreys winning the Hamish Canham prize this year (I had a lot of fun working with Ian in our breakout group on the Duffy & Clarke masterclass at Ty Newydd a few years ago. Very nice to see him having such a great 2016) when I saw my poem ‘The houses are coming’ mentioned as being on the shortlist of six for the prize. Huzzah! I need a few confidence-boosters right now and I’ll take that very happily, thanks very much The Poetry Society.

Launch of ‘The Skin Diary’ by Abegail Morley

What a privilege it is to be asked to read at a friend’s book launch. Abegail Morley has been something of a mentor to me, always generous in her support. She is a genuinely unselfish in her helping of other poets, and always interested in collaborations or new ideas. She’s also a prolific writer – in the time I’ve known her (only about three years I think) she’s had two collections and a pamphlet published, all with different presses. It makes me seriously question my work ethic and output. But in a positive way!

In Tunbridge Wells on Wednesday evening a packed audience turned out in the pouring rain for the launch of The Skin Diary, Abegail’s new collection with Nine Arches Press, and her fourth overall. I’ve barely had a chance to start reading it but I’ve a strong suspicion it’s going to be powerful stuff, not just because that’s the kind of poetry she writes, but also evidenced by her reading. (I’d also had a sneak preview already at our Telltale Press & Friends readings in April.)

My fellow readers in the first half were Mara Bergman (who struck two nerves with me – one for the marvellous Tenement Museum in New York and the other for a riveting account of an MRI scan), and Jeremy Page, who I’ve had the pleasure of reading alongside many times, and I enjoyed hearing his wrestling poem again (from his Pindrop collection Closing Time). For my own part I read a couple of recently published poems and one that’s still quite new and a bit of a ‘funny’.

Lots of familiar faces including our newest Telltale recruit Jess Mookherjee, and lovely to meet the warm and enthusiastic Jane Commane of Nine Arches (pictured above), who was clearly delighted to have worked with Abegail on The Skin Diary. Great to see a publisher being so supportive and also actively engaging with audience members.

Then there was a first for me – I was asked afterwards if I would read my 3 poems again, by a lady whose two friends had missed the first half – a private at-table reading! Is this something poets should be offering at gala events – personal poetry readings at table? I actually enjoyed it as much as the official reading, because although it’s less of a performance there’s an intimacy and informality which allows the ‘audience’ to ask questions and tell me what rang a bell with them and how the poems made them feel. Fantastic.

Some poetry readings etc in next two weeks…

Just a quick shout out for some poetry readings & events coming up in the next couple of weeks … we’re always being told how people turn to poetry in times of trouble, so perhaps we need to start promoting poetry readings as an antidote to brexit woes. I already foresee a tranche of poems on brexit-related themes starting to appear in magazines from the autumn… But let’s not wish the summer away. I’m trying to see the sunshine through those dark trees.

Anyway, starting with this evening, 29th June – I’m pleased and proud to have been invited by Abegail Morley to be a guest reader at the launch of her Nine Arches collection, The Skin Diary, alongside Jeremy Page and Mara Bergman. It’s taking place at The Pitcher & Piano in Tunbridge Wells at 7pm – free entry!

Tomorrow evening 30th June I’m in Eastbourne talking to the New Eastbourne Writers about best ways to use Twitter, and hopefully launching the follow up to my ‘How to Use Twitter’ ebook. (I know, not a reading as such but a writers’ event. If you happen to be based in this area and are looking for a writers’ group to join then do come along.)

Next Thursday 7th June at 7pm it’s Telltale Press & Friends at the Poetry Cafe in London – readers are Sarah Barnsley, Siegfried Baber, NEW Telltale poet Jess Mookherjee – more on her very soon – and special guest John McCullough who will be reading from his new collection Spacecraft (Penned in the Margins). These events are always fantastic so do come and meet the Telltales if you can.

On Friday 8th July at 7.45pm at The Writers’ Place in Brighton I’m excited to be reading at ‘New Writing South presents’ alongside Michaela Ridgway and Akila Richards. Tickets are £6 and there’s also an open mic.

And then on Saturday 9th July at 6pm I’ll be joining fellow members of the Hastings Poetry Stanza in the The Bookkeeper bookshop in St Leonards, for an eight-hander reading billed as ‘Beside the Seaside’. It’s part of the St Leonards Festival, the poetry elements of which have been co-ordinated by our intrepid and resourceful leader, Antony Mair.

What I’ve been reading… Kei Miller’s ‘Cartographer’

At the library I recently picked up Kei Miller’s The Cartographer Tries to Map a Way to Zion (Carcanet 2014), and it proved to be one of those books you start reading and can’t put down till you get to the end.

I’ve folded back so many corners of pages, to mark the poems I loved. At the heart of the book is a dialogue between a foreign cartographer intent on making a precise map of Jamaica (‘what I do is science’), and a ‘rastaman’ who explains the impossibility of it and distrusts the reasons for it –

the mapmaker’s work is to make visible
all them things that shoulda never exist in the first place
like the conquests of pirates, like borders,
like the viral spread of governments

(‘ii. in which the rastaman disagrees’)

The voices of the protagonists reveal the clash not just of cultures but of ways of seeing and thinking about our existence. Interwoven throughout are the stories behind place-names, the characters and history that has shaped the island, answers to the map-maker’s questions. A white mistress who ordered the road to her property be ‘laid in its serpentine way’ so that she never had to look at her black neighbour’s property which was bigger than her husband’s. A house given a fancy French name ‘Chateau Vert’ becomes corrupted to Shotover, and how the story now goes that the owner’s job was to shoot at runaway slaves, which shows that ‘when victims live long enough they get their say in history’ (‘Place Name, Shotover’).

The cartographer moves from his position of objectivity to wondering about Zion that the rastaman speaks of, and the question ‘how does one map a place / that is not quite a place?/ How does one draw / towards the heart?’ (xxi.)

So many of the poems are beautifully self-contained and yet part of the whole. I had so many “DAMN! I WISH I’D WRITTEN THAT” moments. Wonderful lyricism and clever, clever use of language, rhythm and rhyme…

…a hymn then
not to birds but to words
which themselves feel
like feather and wing

and light, as if it were
on the delicacy of
such sweet syllables
that flocks take flight.

(‘Hymn to the Birds’)

I can see why this book won the Forward Prize for best first collection in 2014. If you’ve read it, tell me if you agree. If not, you should be able to get it in your local library (at the moment that is, until all the money is pulled entirely from public services, and libraries, museums, art galleries, parks, free healthcare and free anything all become things of the past.) I started writing this post as a way of taking my mind off how sad and angry I’m feeling today, and how ashamed I am of my country, and how sad I am to feel so ashamed. But I couldn’t stop it all welling up at the end. Sorry.

Tears in the Fence: a no-tears rejection

A few months ago I sent some poems to David Caddy at Tears in the Fence. Although he didn’t take any of them for the magazine, his reply was prompt and very civilised, so much so that it didn’t feel like a standard rejection. Polite, interested, business-like, a suggestion that I send again, not a hint of condescension.

Yes, he invited me to buy a copy of the magazine (or subscribe), but not in such a way that I was felt under pressure, or even scolded in some way. I had read a copy of the magazine, know some people who’ve been published there, and have a reasonable idea of its style. I don’t think my work I was a hundred miles away.

What happened was that I did indeed subscribe, and the Spring issue was soon through my letterbox. It’s small but dense, and one of those mags that pulls you in for a big read rather than inviting a flick-through. Perhaps one of the nicest surprises is that there are many names I’m not familiar with. One that stood out for me was Cherry Smyth, with her poem ‘Connemara Swim Diary, August 2015’. The biog in the back of the mag, and a subsequent dig, tells me that Cherry has published three poetry collections and a novel. Great to have her on my radar.

‘The future of poetry’ – Coffee House Poetry at the Troubadour

So, to the Troubadour last night for poetry, discussions about poetry and the big bad world of digital – a ‘colloquy’ of five poets from diverse backgrounds. In the first half we had readings from Carrie Etter, Hannah Lowe, Gregory Leadbetter and Richard Price, and in the second they formed a round table chaired by C J Dallat.

I’ve not been to a Troubadour colloquy before – it wasn’t as packed as the themed nights can be, but then again it was up against several other events including the launch across town of Luke Kennard’s Cain (Penned in the Margins).

The format was a good balance – very different poets, none of whom I’d heard read before (except Hannah Lowe, but I’m not sure if I’d seen her live or on video). I particularly enjoyed Carrie’s short but electrically charged set. When I said hello to her in the interval it turned out she reads this blog (thanks, Carrie!) …it was also a pleasure to meet Richard Price and to thank him for recently selecting my poem ‘The Houses are Coming’ for Poetry News (yeah, just thought I’d get that in – I’m learning!)

So what’s the future of poetry, in a time when the internet and technology such as print-on-demand put publication in the reach of just about anyone?

There was some agreement that print publication still carries more kudos than online, with Cahal Dallat even suggesting that magazines have gotten so big and so numerous that maybe they’re just publishing everything they’re sent, with no sense of gatekeeping. (Although I wonder if he hasn’t had to go through the magazines submissions process recently?!)

Richard Price bemoaned the fact that digital just isn’t fulfilling its potential yet, and that as a creative person he wants to do more stuff differently. It’s true that just replicating online what print does perfectly well does seem to be the slightly disappointing standard at the moment.

Cahal then brought up the idea of links within digital text (or lack of). I have to agree with him, but sadly the positioning of links within (for example) news stories was hijacked a while back by advertisers who thought it was a jolly way to insert more ‘information’ (ie ads) in a piece. It did remind me of a project I did for my Digital Media MA sixteen years ago, which was an alternative website for The Royal Pavilion in which internal hyperlinking allowed the viewer to explore the building and its history in a non-linear fashion. Typical media degree stuff and probably not commercial. But maybe I need to get my poetry thinking cap on and be more creative in this way. Then again I’m sure it’s already happening and that digital creativity has gone way beyond throwing in a bit of video or animation. Someone did mention hyperreality but let’s not go down the whole Baudrillard road now although this is quite an entertaining video if you’re curious (but do not watch if you are of a nervous disposition!)

One thing I was burning to say but missed my chance (and then went off the boil) was that I don’t think it’s helpful to characterise young people as ‘digital natives’ and somehow innately tech-capable, which was suggested at one point. The flip side of this theory is that anyone who didn’t grow up with mobiles and touch screens is incapable of getting their heads around anything digital. I know from my work with people my age and thereabouts (sometimes a lot younger) that there is a ton of defeatism when it comes to tech. Completely intelligent and utterly capable people throw up their hands when it comes to mobile phones, computers not doing what they expect or any mention of Snapchat. But kids! They can do it their sleep! Oh yeah?

Actually, I’ve heard my husband say MANY times how surprised he is that his sixth form students can be clueless when it comes to technology – they lack basic digital skills such as how to search for information online or how to assess what they do find. They don’t know how things work. At all. But what young people have is a lack of fear. They don’t fear tech and they don’t fear gadgets, and they don’t fear the consequences of messing about with tech. They have the attitude ‘I don’t know how to do this but I’ll fiddle around until I find a way’ – something that is as rare as rare can be in your average over-40-year-old. I really think that fear is the key inhibitor to our full exploitation of new technologies, not age. Please can we pass this idea on, and thereby liberate us oldsters once and for all from the shackles of ‘we’re not digital natives so it’s harder for us’ ? Thanks.

Oh dear, not having taken notes last night I seem to have turned this post around into a bit of a rant rather than recording faithfully what the panel came up with… sorry.  But it was genuinely stimulating and the audience was lively. Great stuff.

Big thanks as ever to Anne-Marie Fyfe for organising these Coffee House Poetry nights, they are gems.

A shame that Southern Rail are still keeping up their go-slow, which meant I didn’t get to my bed before 1am. The price to pay for living by the sea…