Back from a couple of days away at Standen, a National Trust house in the Sussex countryside about 45 minutes from where I live. The idea was for it to be a poetry reading & writing retreat, time away from the internet, work and house moving stuff. I love visiting Standen and it was a treat to be able to stay there, even if just for a short time. I’d like to take my husband there in the summer so we can have private picnics on the lawn after the massed general public has gone home.
I got there on Monday evening and thought I ought to have a plan for how to spend my time, but it didn’t really work out that way. I got up early on the first full day, intending to write – I’d brought a selection of books with me, so I started reading, and the reading took over. I got out Don Paterson’s Landing Light and resolved to read it all the way through – even the long poems which I admit I often avoid – and make notes. This was a really good thing to do as I discovered so many connections between poems and appreciated the ordering and the shape of the collection. Too often I dip in and out of collections and probably miss much of the interesting detail. I then started doing the same with Allison McVety’s Lighthouses, but got distracted (or actually inspired, to put it more positively) by an idea for a poem.
Another book I revisited was Strong Words, edited by W N Herbert and Matthew Hollis (Bloodaxe). It’s a marvellous resource, a collection of essays by ‘modern poets on modern poetry’. I just keep coming back to it, it’s so rich and there are so many poets represented it’s a lot to take in. This time I focused on three very different viewpoints from Eavan Boland, Edwin Morgan and U A Fanthorpe.
But you can’t stay at Standen without taking a tour around the house itself, or one of the many countryside walks from the door.
Not my digs alas – the Drawing Room at StandenIs it New England? No, Olde England – view from the holiday apartment at Standen
I was lucky with the weather, so I walked down to the Weirwood Reservoir yesterday and only encountered one other person en route. But I did hear a woodpecker, enjoyed the songs of chaffinches, robins and blackbirds and caught a glimpse of two deer in the trees.
Standen is an Arts & Crafts house, designed by Philip Webb and built in the last decade of the 19th century. Every aspect of the interior – architecture, layout, furniture and furnishings – is down to him and his Arts & Crafts colleagues (Morris, Voysey et al). Now although I’m partial to a bit of William Morris wallpaper, and once even had curtains made in one of his designs, on closer inspection I think I can say for sure that I would find it hard to live with on this scale. Standen is a family home, but there’s something rather austere about it, which seems slightly odd given the amount of decoration everywhere. It’s tightly controlled. The wallpaper and textile patterns are stylised. Some of the lamps are, quite honestly, ugly. The much-admired Webb fireplaces can verge on the brutalist. There is artisanship everywhere, but not a huge amount of art. Interesting to contrast this with, say, Charleston Farmhouse with its riotous hand-painted decoration to every surface. I realise we’re talking a slightly later period, and the owners of Standen (for all their interest in building a ‘contemporary’ house) were by no means bohemian.
The Garden Room at Charleston in Sussex, home of artists Vanessa and Clive Bell and Duncan Grant from 1916
But back to my little retreat….the holiday apartment I stayed in is on the second floor, up the servants’ staircase, but nothing about it is poky. This is a grand amount of space and the walls, doors and fitted cupboards have a fine solidity about them. The bathroom is the size of a 21st century studio flat. I loved staying there – it was warm, quiet & private, I could look out on the comings and goings of workers and visitors.
I did fondly imagine I would spend time in the main house, sitting in the conservatory or the Morning Room with my notebook, as if I owned the place, taking in the vibes of the house, its history and characters. But that’s for a longer stay. Although people staying in the apartment are free to visit the house during opening hours, and I’m sure no-one would have minded if I’d settled in one of the rooms, I think I would have been a curiosity, and detracted from people’s enjoyment of the atmosphere. I’m not sure how I would answer the questions about what I was doing there, or (worse) questions about the rooms and the place itself (although I might have had fun bluffing). I think I’d also end up writing about the visitors rather than the house. As it was, I worked very well upstairs in my lovely garret.
The second day was more productive, I got into my stride and ideas popped. I rummaged through some of the MANY old poems on my computer and selected a few to revive or rework. I did try going through all the others, archiving and even *shudder* deleting some, but soon became exhausted and had to take a nap. Although I was supposed to be internet-free, I did have my phone and kept up with emails and Twitter – which actually wasn’t all bad because a story I read about via a link posted on Twitter got me into a new poem. In the evening I was going up to London for a memorial event for Dannie Abse, so I had to venture out, but I knew I’d be leaving anyway the next day, so the retreat was kind of over then anyway. This morning when I left it was raining and I could hardly see the fields or the reservoir from my window.
The final takeaways – six new poems started, four old ones revived, some good quality reading and an interesting immersion (well, dip) into Arts & Crafts style. Now to see if I have anything worth sending out…
Today I made my first visit to the Troubadour cafe, after thinking about it for a long time – I thought I’d start by going to one of Anne-Marie Fyfe‘s Coffee House Poetry workshops, which always sound enticing. The theme was ‘bridges’, and the first irony of the day was my inability to locate Wandsworth Bridge, despite the satnav lady giving it her best shot. Thankfully I managed it second time around. I’m glad I drove – although it’s a couple of hours away from where I live, parking around the Troubadour is free and easy on a Sunday, whereas the rail service from the South coast is non-existent on Sundays, making for miserable four-hour journeys. And it was pouring with rain when I left so jumping into the car was wonderful.
Is that Hilda lurking behind the partition?
There’s something a tad intimidating about the Troubadour cafe – the door is solid and heavy so it’s as if you have to be ‘in the know’ to enter. The interior is, well, quirky. As I quietly ordered my cup of tea, wondering if I’d see anyone I knew, it was a relief to hear my name being called from out of the darkness by none other than the grande dame of Swindon Poetry, Hilda Sheehan. Brilliant – and when I uploaded my photos I realised I’d captured Hilda in shot without noticing – ha ha! Hilda introduced me to Anne-Marie and some of of the participants, many of whose names I knew – Angela Kirby, Dorothy Yamamoto, Jill Abram. There was a slight panic as Hilda and I rushed upstairs for the start of the workshop only to find ourselves in someone’s kitchen. Ooops! Luckily no-one appeared to ask what the hell we were doing there. All I can say is that the door to the gallery is right next to someone’s flat. You have been warned!
It was a well-run writing workshop – to time, with lots of reading material to get inspiration from and to take away to read properly later. Anne-Marie was a warm & supportive tutor with a toolbox of tricks, from guided writing exercises to a pack of bridge photos around which we were to invited to write just one line before moving onto the next. In the break we had time to polish up a poem to share, and although I didn’t come up with anything very original it served its purpose to get me thinking and writing. Lots of interesting stuff produced by others.
There were rather a lot of participants, although for once I wasn’t bothered by this. And I was lucky to find myself sitting between two lovely poets whose names rang a bell and who I’ve since looked up, to discover they are indeed both talented and accomplished writers: Agnieszka Studzinska and Frances Galleymore. Exciting and humbling to have been in such good company. I’ll be back.
The eagle-eyed reader of this blog may have noticed a few wee changes in the look of it. Yes, I’ve changed the Theme, but it all happened rather more quickly than I was expecting, and the day before I was giving a blogging workshop. So I spent four hours trying to make my broken blog look half-respectable. DUH. It’s still not quite how I want it, but that’s my fault for being so trigger-happy and always wanting to change things.
Then, the workshop was going well, until I introduced the class to Pixlr, which I’ve used many times, but for some reason it wasn’t doing what I expected. OH WOE! Never rely on technology in front of an audience, dear readers. It has certainly led to many a pratfall in my time.
On the poetry front, good news: I feel I may have written a half-decent poem, my first in a while. Hurrah! But I can’t decide where to send it – to Black Hole Magazine*, or the No Hope Poetry Competition*? It’s a tough call!
More good news: the lovely Helen Ivory has accepted a poem for Ink, Sweat & Tears – thank you, thank you Ms I! – to appear some time in the Spring. Another poem made it onto the Plough Prize shortlist (results out in March I believe, but the winners have already been notified, so I know that’s as far as my poem got – the shortlist and longlist idea is great, as it gives you some consolation that your poem wasn’t entirely yawn-worthy.)
Very busy at the moment – with work, with homelife, with other poetry projects such as Telltale Press – we’ve nearly got all our readers for our next Telltale Poets & Friends reading in Lewes on 15th April – and the Needlewriters – launching our anthology next month, and a lot of online proofing to do.
I’m also researching my next ‘regional focus’ for this blog – Cumbria, I’m cumbring your way (sorry!) and one or two poet interviews for the Spring. So lots in the pipeline, and I’ll try not to break anything else.
* absolutely no slight intended towards the lovely mags and comp judges who have been so kind as to place my work in the past!
Perhaps that could be a poem title? Should I send it to the Poetry London comp, or is more of a Poetry on the Lake sort of title? Could I get some kind of double meaning out of ‘game’ in order to make it a nature poem and would it appeal to Simon Armitage when judging the Rialto comp?
‘Games’ were fun things we did as kids, weren’t they? if you discount ‘games’ – that Wednesday afternoon ritual at secondary school that usually involved mud, cold and not being picked for the team. But now we have gaming. Gamesmanship. Game over. Not fun any more. Or is it?
If we decide to enter poetry competitions we could approach it as a game (ie a bit of fun). We give a go, and if we win it’s great – sometimes a cash prize, sometimes a prize giving event or publication. Or in the case of a big competition, career-enhancing. We don’t mind paying to enter because it’s a lot of work for judges and organisers. And besides, the entry fees are a way of giving something back to poetry – the promoters of competitions are usually publishers after all, or champions of poetry in some way.
Is there an alternative? In the wider world of ‘comping’, there are people who make a good living from competitions and win more iPads, Audis and holidays than they can cope with. Apparently the secret is to approach it systematically. Less beach cricket, more The Hunger Games. A serious comper will tell you it’s a waste of time NOT to approach it this way.
So is that also true of poetry competitions? I’ve read various posts about this – what makes for a competition-winning poem, what ‘due diligence’ should be done before entering a competition, whether you’ve got more chance in a smaller competition than a big one (not as obvious as it sounds!) Judges are often happy to give their side of it, either being helpful before the fact (Emma Lee has written a good article outlining exactly what she looks for when judging a competition) or in judge’s reports (which often tell is like it is – essential reading!) Personally, I find the shortlists and longlists (for those competitions that make them public) tell you a lot. I’m often amazed at some ‘big name’ poets entering competitions. And the sheer number of entries from some poets – either money’s no object or their strategy is spend big to win big…
I also read recently (can’t remember on whose blog – help me out, someone) that competition-winning poems don’t necessarily have a place in a pamphlet (and vice versa). I quite enjoy sometimes writing to a theme, but is writing ‘competition poems’ anathema to a poet working on a pamphlet or a collection? And yet that’s a bit of a broad judgement too – look at Ian Duhig’s marvellous The Lammas Hireling, winning the National and then the title poem of a fine collection.
I came across this interesting piece by Jendi Reiter which, although it’s primarily to do with submitting to US journals and competitions, I still found useful. I rather like her reminder that if you enter competitions, “you’re going to get a lot more rejection than validation, and internalizing others’ opinions of your worth will lead to writers’ block or fearful, unoriginal writing.” I think this is one reason I’m so ambivalent about it. I’m not sure I can keep up a healthy attitude to writing poetry at the same time as entering comps. And yet part of me enjoys the game, and every now and then I can’t resist it.
Help! I can’t be the only one who has this problem. Poem titles. What the &%$?!*?
I seem to have a issue with both the creative and the administrative aspects of poem titles.
Sometimes I’m pleased with a poem, but the ‘working title’ just doesn’t cut it. Or I don’t even have a working title. Sometimes I save a poem under its working title and then can’t find it. Sometimes I submit a poem with ‘title X’ which, after four or five rejections, I rework a bit and change the title, then can’t find either the poem or where I submitted it. Sometimes I have a GREAT title in my head, but can’t write a poem to go with it. Maybe it’s a pamphlet title? But I haven’t written the pamphlet either. Sometimes I look at the titles of poems in magazines and wonder at their length or quirkiness, and I TRY to write long, quirky titles to my poems. But they resist and resist until they’re just one or two words again. The first one often being ‘The’.
O gods of poetry, please tell me where the poem titles are, I need a clue!
I always think of January as being a bit dreary, so it tends to be the time of year I make plans for things to look forward to.
Number one is a short writing retreat – I did a DIY retreat a couple of years ago and got a lot out of it – not least of all enough material to produce two decent poems. But I was a bit lonely – so this time I’ve booked 3 nights away rather than four, at a National Trust flat in Standen, an Arts & Crafts house which I’ve always loved visiting. I’ll have free range access to all the gardens and grounds while I’m there and a cosy flat in the servants quarters where I can read and write. Are you jealous yet?! That will be in March, when the days will be slightly longer and who knows, maybe warmer too.
I’ve also booked onto an afternoon workshop with Anne-Marie Fyfe on the theme of ‘a bridge too far’ in February, and this workshop offered by Poetry Swindon also looks tempting – Smart reading for smarter writing with Martin Malone – but it’s the day before and I might be tad exhausted from all the workshopping (and travelling) in one weekend.
It’s a good thing I’m going to be doing some workshopping and retreating because I’ve got a few readings coming up, and need new material! This Thursday 22nd January I’m on home turf here in Lewes for Needlewriters, then nothing else booked for a while, although Telltale Poets are planning another reading in March or April – we’ll be finalising that soon. On April 22nd I’ll be reading at Lauderdale House in London, as part of Shanta Acharya’s Poetry in the House series, which will be fab, and in May 3rd I’ll be in Mayfield for a reading during the Mayfield Fringe Festival, at the kind invitation of Sian Thomas. Later in the year, big thanks to Dawn Gorman for booking me to read at Words and Ears in Bradford on Avon on October 29th – which is actually my birthday, so we’re making a nice trip of it.
As regards submissions, there’s no news to report I’m afraid. I’ve lost a bit of momentum. I’m in the doldrums with no sign of the wind getting up. So I’m focusing more on finding the time to write, and am resisting the urge to enter competitions or submit to any more mags just for the sake of getting things out there. To be honest the cupboard is bare at the moment – all my half-decent stuff is tied up and out of circulation. If you’re interested, here’s how the magazine submissions are going:
4 poems have been out for 5 days – yes! I submitted a few the other day – but other than that:
9 poems have been out for 76 days
4 poems for 131 days
4 poems for 156 days
I’ll soon be able to move a couple back into circulation which were out to competitions. It’s a slooooow process, isn’t it? But I’m heartened by reminding myself that for many fine poets three or four good poems a year was (or is) enough. Quality, not quantity 🙂 And think of the treats coming up!
Welcome to the first of my new series of Regional Focus pieces about the poetry scene around the UK. I suppose I could have called it ‘Down Your Way’ or some other BBC-esque ever-so-slightly patronising title. Or I could have racked my brains for something witty, wacky or non-cliched. But hey.
PS: it’s long – grab a cup of tea and a biscuit.
So. Leicestershire. Where better to start than one of England’s ancient land-locked counties? Let’s get the basics out of the way. Here’s where it is:
For the benefit of my non-British readers, or anyone who’s not sure (I feel a BBC moment coming on here!) it’s pronounced like this:
If you think that’s tricky then in 1087 it was called Laegrecastrescir. Which I’m not going to attempt to pronounce.
(I’ve been alerted to the fact that the above audio file doesn’t work for everyone – apologies if you clicked and nothing happened!)
Wikipedia says the population of the whole county is just under a million, and let me tell you, it’s seething with poetry. I asked a number of Leics poets what was going on up there. They sent back a TON of juicy information.
First of all, a bit about my special correspondents:
Jayne Stanton
Jayne is one of my virtual blogger friends who writes about her poetry life and the local scene on her blog. She’s lived in Leicestershire since 1989. Her pamphlet Beyond the Tune was published by Soundswrite in September 2014. Soundswrite is a women’s poetry workshopping and reading group that also has a small press – so far it has published three anthologies and five pamphlets. As well as attending and running workshops, Jayne is heavily involved in local projects including her most recent role as a commissioned writer for Sole2Soul, a project by University of Leicester’s Centre for New Writing, to attract visitors to Market Harborough Museum’s Faulkner boot and shoe exhibit.
DA (Davina) Prince
I first met Davina at a launch of The Rialto last year, and when we met again at the Poetry Book Fair we talked about many things including the idea of a Regional Focus series on this blog. So I have Davina to thank for the inspiration. Leicestershire-born Davina was a little coy about answering my request to ‘tell us about yourself’, but from her Poetry p f page I glean that she has had three pamphlets and two collections of poetry published, the latest being the super Common Ground from HappenStance (2014).
Roy Marshall
Roy was manning the HappenStance table at the Poetry Book Fair last year when we were introduced – always wonderful to meet poet bloggers face to face, and I’ve been enjoying Roy’s thoughtful and perceptive blog for some time now. Roy lives in a village on the south side of Leicester where he’s been since 1998, although he lived in Leicestershire as a child “so I’m familiar with the greeting ‘Aye up me duck’, although you hear this less nowadays” – shame! Roy is widely published and has a pamphlet Gopagilla (Crystal Clear, 2012) and a full collection The Sun Bathers (Shoestring Press, 2013).
Maria Taylor
Partly raised in Nottinghamshire, Maria admits “It was love that brought me back to the Midlands” – aaw! Now living in Loughborough, she balances bringing up twin 6-year old daughters with ‘poeting’ – her term for travelling around attending events, readings and so forth. Maria’s name came up again and again in my research for this piece – she’s a publisher, reviewer and poetry event promoter as well as a poet and she blogs at Commonplace. Her collection Melanchrini is published by Nine Arches Press (2012) and was shortlisted for the Michael Murphy Memorial Prize.
Charles Lauder Jnr
Charles is a native Texan who, like Maria, was brought to Leicestershire by love – to the village where his wife grew up in fact. Anglophile Charles is fascinated by English history – “like many ex-pats, I now often write about how my adopted culture compares to my native culture.” Charles has run the South Leicestershire Stanza for the last six years, and as well as being widely published he’s also Deputy Editor of The Interpreter’s House.
I ought to add that I didn’t manage to speak to Matt Merritt or Emma Lee, although they were both on my list, but I had so much info from the others that I couldn’t cope with any more! Both Matt and Emma’s names were mentioned by my reporters, and they both write fine blogs.
It’s a Leicester Fiesta – Martin Harvey (image from http://artintodust.blogspot.co.uk/)
Q1: Are there any specific towns/cities with a vibrant poetry scene?
Maria Taylor (MT): The vast majority of events I attend are in Leicester, my closest city. I also attend events in Nottingham too. There’s a lot going on in the bigger cities, but there are also many things occurring in the smaller towns and villages. With the advent of various presses and regular events in the East Midlands, the region really does have a sense of identity on the poetry map.
DA Prince (DAP): I realise that a city/county boundary doesn’t define the area for me: I go to the Nottingham Stanza because it’s a group that reads full-length collections, and also because I hear what’s happening in Nottingham. I think we would all see ourselves as more Midlands than just ‘Leicester’ – and poets in Nottingham say they envy the range of activity in Leicester while those of us in Leicester look with longing at the range in Nottingham. The grass is always greener …
Jayne Stanton (JS): Leicester has a growing number of poetry open mic nights as well as readings and events organised by its two universities. Loughborough also has regular events, I believe. I’ve also begun to travel further afield, lately, and enjoy poetry nights out across the Midlands, in Lichfield, Burton on Trent, Coventry, Kettering and Rugby.
Q2: Who are the poetry ‘movers and shakers’ ??
Charles Lauder (CL): Jonathan & Maria Taylor, Lydia Towsey, Jane Commane, Karin Koller who runs the Soundswrite Group, Mark Goodwin, a prolific poet who describes himself as a ‘community poet’—in the past he ran a lot of workshops for children in schools and for adults in adult education centers and in prisons. In the past year, he’s put on public installations in Leicester and Cornwall.
MT: Not sure if I’m a ‘mover’ or a ‘shaker’! I try and facilitate opportunities for readings with Shindig, but I think one of the most productive (and modest!) person is Jane Commane who organises all sorts of readings. Also Lydia Towsey and Pam Thompson who do sterling work in Leicester. I should also say my husband Jonathan Taylor, otherwise he’d get upset! Seriously, he organises and hosts lots and lots of events. Jonathan and Jane combined at Shindig are a force to be reckoned with! It’s hard to answer a question like this because I don’t want to miss anyone out. To be honest it’s more like a big web of people connecting with each other. Everyone can offer something.
Lydia Towsey, ‘Girl walks into a bar’
JS: Gosh! There are so many! Maria and Jonathan Taylor, Roy Marshall, D A Prince, Matt Merritt, Mark Goodwin, Jess Green, Lydia Towsey, Pam Thompson – to name just a few…
Roy Marshall (RM): Jonathan and Maria Taylor because they are involved in organising the spoken word night Shindig (together with Nine Arches Press.) They’re also publishers (Crystal Clear Creators). Other poets who do other things include Matt Merritt, who blogs and reviews for magazines such as Magma, and all the people involved with ‘WORD’ at the Y theatre, including Jean ‘Binta’ Breeze, Pam Thompson and Lydia Towsey. And Soundswrite Press which is based here and publishes women poets.
Q3: What regular poetry events are there in your area?
CL:Shindig! is a bi-monthly open mic night at the Western Pub on Western Road in Leicester, organised by Jonathan & Maria Taylor (of Crystal Clear Creators) and Jane Commane (of Nine Arches Press). The night is divided into two halves—CCC hosts one half and Nine Arches the other—of about 10 open-micers each followed by 2 guest readers. For a Monday night, it’s a lively crowd of about 40–50 people who are very supportive and cheer everyone on. It’s mostly page poets, with some performance poets too.
MT: Obviously Shindig is my top event as I help to run it with Jane and Jonathan and I’m often a host. The Open Mic is very high calibre, we often have some really exceptional poets reading. It’s also a friendly place for newcomers as well. Main readers have included some top notch poets, such as Kim Moore, Sarah Jackson, Rory Waterman and David Morley. We also use those slots to showcase local and regional writers. This year I was really cheered that Shindig was shortlisted for a Saboteur award, up against many London based events.
RM: I think Shindig (at the Western pub) is fantastic. Always a really good set of guest poets and a good open mic. Appreciative and attentive audience.
JS: Shindig! is unmissable, in my book (in fact, the only one I’ve missed was just after my hip replacement)!
CL:Word! at the Y is the longest running spoken word event in the Midlands and is hosted by Lydia Towsey. This is held monthly on the first Tuesday of the month, with an evening of open-micers and a guest reader at the end. Most of those reading are performance poets and sometimes visuals will accompany the poets. Well-attended.
MT: I began reading at WORD! myself nearly 5 years ago now. It’s a similar format to Shindig with lots of Open Mic. I recently heard George Szirtes and Pascale Petit read there. I was asked to read as a support act to Ann and Peter Sansom in April, which was lovely. It’s a very supportive atmosphere and readers are warmly welcomed.
RM: WORD! at the Y theatre was the first place I ever read a poem aloud and has had a great mix of guest poets over the years.
JS: Word! is where I cut my teeth as a poet at the open mic, and where I still attend as often as possible.
MT: WORD! also has a sister group called Pinggg…k run by Bobba Cass…
JS:Pinggg…K! is a monthly open mic night in celebration of metrosexual verse, at Duffy’s Bar, Pocklington’s Walk. Held on the last Tuesday of the month. The format: poetry circle, followed by open mics and feature poet. A popular event with a warm welcome to all from host Bobba Cass.
JS: Also, Find the Right Words: Performance Poetry and Rap Night hosted by Jess Green, held Upstairs at the Western (pub) monthly. The format: ten open mic slots and two feature performers. (I’ve not attended this one yet, but was sorry to miss Holly McNish recently).
MT: There’s lots going on in Nottingham, of course too. While bookshops are closing elsewhere, Five Leaves Bookshop run by Ross Bradshaw has opened. Great bookshop, you can actually browse poetry books! Apart from bookselling it’s also served as a venue for launches. One for the new issue of New Walk was held there in October for instance and it attracts good audiences who are serious about poetry. Then there’s also ‘Jazz and Poetry’ which is new-ish too with strong audiences. Should mention Nottingham Writer’s Studio too who offer writing space and courses.
A festival culture is also developing, supported in the main by local universities. These include States of Independence (DMU), Literary Leicester (Uni of Leicester) and Nottingham Festival of Words (Nottingham Trent). So you get the picture…there are lots of opportunities and masses of spoken word and performance poetry too. Again, sorry if I’ve missed anything out, there’s quite a lot!
Q4: Is there any poetry heritage associated with the area – famous dead poets, or locations or industries that inspired poets or poetry of the past, etc?
MT: Larkin lived in Leicester for a time, and was of course born in Coventry, but he is more widely affiliated with Hull. If D. H. Lawrence was a stick of rock he’d have Nottingham going through him. Lord Byron’s family home is at Newstead Abbey in Nottinghamshire. When you exit Nottingham station you’re greet with a big sign which reads ‘Our Rebel Writers’ and features Byron, Lawrence and Alan Sillitoe. Joe Orton and Sue Townsend came from Leicester. Poetry aside, both cities have a real literary heritage.
dun Larkin
JS: Other famous dead poets: Loughborough-born John Cleveland (1613-1656), Leicester-born poet and leading Chartist Thomas Cooper (1805-1892), Jessie Pope (1868-1941).
CL: Leicester is renown for its hosiery & shoe industry heritage. Currently, there is a project that involves the New Writing Centre at the University of Leicester and the Market Harborough Museum called ‘Sole2Soul’ (this is the project Jayne is involved in.)
Q5: Anything else I’ve missed?
CL: Two more important annual literary events to mention are Everybody’s Reading, a two-week festival in September with city-wide events to promote literacy throughout the city, and States of Independence (the equivalent of London’s Free Verse Book Fair), run by Ross Bradshaw of Five Leaves Press in Nottingham.
DAP: I realised you didn’t mention publishing as a separate category. In the past Leicester has had a range of small poetry publishers but they have quietly disappeared. Soundswrite is the only one I can think of – but so far we’ve only published from within our own members, so that keeps us in the ‘self-limited’ category. Nottingham, by contrast, has Shoestring, Five Leaves, Candlestick (all known nationally) – and, I suspect, others.
CL: I think the literary scene that’s alive and thriving now in Leics is making up for lost time. So many poets who are often reading at the city’s open mic events are publishing collections & pamphlets with national publishers and making a name for themselves. Years from now when a literary history of the early twenty-first century is written, Leicester will be highlighted as a thriving cultural centre for poetry.
MT: I think it’s great that my little bit of the East Midlands has such a vibrant poetry scene. Long may it thrive!
Q6: And finally … any interesting factoids for us?
MT: I really like the folklore tale of Black Annis, a blue-faced witch who’s meant to haunt the Leicestershire countryside. According to legend she has a taste for children and lambs and resides in a cave in the Dane Hills. She probably finds things a bit tricksy these days as many of her old haunts are now built up.
Loughborough was the home of Ladybird books and also the destination of the world’s first package tour. It was organised by Thomas Cook in 1841. They came all the way from Leicester on a train. Shilling a head.
CL: Quite a few native Leicesters I know don’t like Leicester. It’s a dirty, ugly city and a lot of its obvious architecture are failed post-war creations. However, you have to look beyond that to find some very historical (medieval, Tudor, Stuart, etc., up to Victorian) treasures. Now that Richard III’s body has been discovered, that might spur an historical revival of the city. Other nice little treasures are Cardinal Wolsey’s gravesite and the church where Chaucer got married.
RM: Bradgate Park (where the young David Attenborough found his first fossil) contains the oldest rocks in the world. The Python, Graham Chapman was from Leicester as was Sue Townsend of course.
JS: Leicester’s very own ‘King beneath the car park’: Richard III. Also: Leicester hosts the largest Divali celebrations outside of India. It was also Britain’s first ‘Environment City’ and is home to the National Space Centre.
It’s lovely in Leics! (Photo from http://www.goleicestershire.com)
Phew! Huge thanks to my tireless reporters. Do you live in Leicestershire? Have we missed anything or anyone out? Please let me know in the comments.
Would you like to see your area featured in a Regional Focus? Let me know!
On paper it’s been a good year. Two non-fiction books written, one published and the second out in March. One poetry pamphlet quietly out the door (even though I had to form a poets’ collective in order to get it published) to modest acclaim, which is the best I hoped for even in my dreams. Several significant new poetry friendships established. Not a lot of poems published in magazines but enough good results to keep my poet-ego going (just about!)
There are lots of positives on the horizon in the next year or so, in many different areas of my life, but one thing I know I must do is make more time to write poems. I absolutely love all the opportunities that poetry offers, whether it’s organising or facilitating events, initiating new projects and seeing them happen, going to readings or giving them, meeting new people, collaborating with others, reading blogs, discovering exciting poets or bloggers who are new to me, trying to analyse the mindsets and workings-out of poetry editors, the highs and lows of poetry submissions … and writing about it all. But I wonder if I spent too much time and energy on all that in 2014?
Social media is another area I need to manage with more discipline. A poet friend recently announced she was leaving Facebook in order to spend more time on writing and with family. She’s since amended that to say that she’ll be checking in very occasionally, but the principle remains. I can understand this entirely, and it’s very tempting. I’ve always found Facebook to be the cruellest and most suffocating of social channels. Sometimes I wonder how it would be to withdraw entirely from social media. Peace, quiet, being oblivious to other people’s lives. I know writers who pretty much stay away from the whole circus, and I envy them in a way. But online communication has been a significant part of my life now for seventeen years, since discovering the internet and joining my first online community. I can’t start to list the wonderful things it’s brought me for risk of sounding trite. It’s also my livelihood.
So, my New Year resolutions are pretty much this:
allocate regular time to write poems, and don’t spend said-allocated time slot mewling over what I’ve already got out and which magazines haven’t replied, or who’s just won a competition and why it’s not me, or whatever.
don’t stress about how many poetry books, pamphlets and mags are piling up unread. I’m considering ways to tackle this, for example reading books in strict order of acquisition, but I’m not sure that will work as some collections are very much ‘dip in and out’ and others you can’t stop once you start reading. Also, when a magazine comes through the door you want to eat it up there and then. Any ideas?
blog posts – better editorial planning, writing & scheduling in advance as much as possible. I have three blogs I need to update regularly and 2 or 3 others that need occasional attention. I also write a lot of guest blog posts, and manage a stupid number of Facebook Pages, none of which I’m able to give the right amount of attention to. Could be time for a cull or a reorganisation.
I started this post thinking ‘I’m not going to write yet another end of year review’ and I realise it’s gone a bit that way. Sorry. Please do keep reading and commenting, I appreciate it more than you can imagine. Thank you for putting up with my rants and opinions. I wish you every joy, health and happiness in 2015.
