It’s been a busy couple of weeks but I’ve allowed myself time off to decorate the Christmas tree, which is always a joy. Next job: Christmas cards (yes, we still enjoy sending – and receiving – them! One analogue tradition I can’t bring myself to give up…)
I did manage to get a pamphlet submission together in time to send to Broken Sleep. Who knows if it’s going to be up Aaron Kent’s strasse. I enjoyed compiling it though – 20 – 25 poems is a sweet collection length in my mind. Meanwhile I’ve been geed up by a couple of acceptances this week, one from Mark Antony Owen’s After... due to go live in January, an elphrastic poem I wrote inspired by a painting by David Hockney from his ‘The Arrival of Spring, Normandy 2020’ (see above). Elsewhere I’ve still got around a dozen poems that have been out for between 3 and 7 months. The Christmas/New Year break is traditionally a time for rejections to come trickling in, as editors attack the slush pile after too many mince pies. So let’s see.
Bill Greenwell’s workshop turned out to be a bit of a ‘curate’s egg’ for me… it generated half a dozen new poems, at least three of which have legs. Bill’s feedback was very useful indeed; he has such a depth of experience and insight. On the other hand I didn’t actually finish the 9 weeks, sloping off under pressure of work and other distractions after 6. And to be honest I was overwhelmed with all the poems and comments being posted and just couldn’t keep up. I don’t think the online workshop format is for me (yes, I know I’ve said this before – but do I ever learn?)
So Peter and I managed to get the latest episode of Planet Poetry edited and up last Thursday, featuring Peter’s interview with Sarah Barnsley on her first full collection The Thoughts. It’s an excellent book, in fact it’s one of my recommendations in the forthcoming edition of Poetry News. The poddy is going well. Now all we need are <unsubtle-hint> a few kind donations to help us pay the costs of the recording and hosting platforms! </unsubtle-hint> We were especially chuffed to hear that Kim Moore (who we interviewed in our Season 3 opener recently) won the Forward Prize! We bask in the reflected glory! Our Christmas episode is coming up on December 15th, featuring my interview with Matthew Stewart plus party hats, carols and bloopers. Don’t miss it!!
Meanwhile I’ve just sent out the updated spreadsheet of poetry magazine windows, and although I’ve lost patience with a few of the mags that seem to be permanently closed and/or never updated, there are some interesting additions. Even one journal that’s finally open for poetry after I took it off the list some time ago because it was never open and didn’t respond to queries. Perhaps poetry mags never die, they just pass out for a while (to nick a line from Prole).
So it’s wall-to-wall concerts at the moment. Choirs seem to be tackling an interesting range of material this year, which means I don’t have to sit though any renditions of ‘For unto WUSS a child is born’. In fact I’m just off to Brighton again to hear one of Nick’s choirs perform. Yes, even a rail replacement bus service doesn’t put me off. It must be love!
Day Four of No-booze-vember and I’m thinking of making an advent calendar to count down the days to when I’m allowed a glass of wine. Last year it all made sense – nothing much happening in November, Christmas to look forward to…I certainly wouldn’t want to do this in January, the most dreary of months and impossible to get through without AT LEAST the odd hot toddy.
But this year November is alight with events: my first concert with a new choir, a friend’s birthday ceilidh, two book launches (one of which is my own – hell’s teeth can a girl not have a drink at her own launch?), a meal out with an American work-friend I haven’t seen in 7 or 8 years, a night at the Troubadour AND a reading in London with a host of starry poet-names. What was I thinking?
I’m trying to see it as a creative experiment-slash-meditative opportunity. It’s a happy coincidence that I’ve finished Dante’s Inferno and have moved on to Purgatorio, which is surprisingly, well, surprising. According to Dante (and I’ve only got as far as the introduction, so not yet immersed in the poetry) Purgatory is where most of us go when we die, to think about how we’ve lived our lives and how we might do better. The idea is that if we take responsibility for and (importantly) are penitent about this, then there’s a chance we’ll get to heaven. It does involve a bit of pain and much patience but compared to Hell (or living through this Brexit debacle) it’s not all that bad really. There’s no guarantee if or when you get to move on – some poor sods have been there for a thousand years – but the hope is always that when you get out it’ll be an upward not a downward move. So not drinking this month feels like a small kind of penance. Not that I imagine it’s anywhere near enough for all the bad behaviour I could be charged with when the time comes.
Meanwhile things are gearing up for the Live Canon pamphlet launch which is scheduled for Monday 25th November, at the Boulevard Theatre Bar in Soho – fancy! It used to be the Raymond Revue Bar apparently, so I just hope my poems are seedy enough to do justice to the place’s heritage. Still not sure what the title of the pamph will be, but a lot can happen in three weeks (I hope!) I’m looking forward to meeting & reading alongside fellow launchees Miranda Peake, Tania Hershman and Katie Griffiths, and toasting all of us with a glass of sparkling water…
A few bits and bobs on the submissions front – one poem on the Bridport shortlist (which is a lot longer than it sounds), two poems accepted for Stand magazine, although they may only want one of them as the other is in the forthcoming pamphlet, and one for The Moth, very exciting for me as I feel they are seriously good magazines and it’ll be a first appearance for me in both. And actually the poem that The Moth have taken is one that I’ve been trying with for ages – I started it six years ago, and it was in my ‘Business Class’ pamphlet (the one that nobody wanted as a collection). It’s had 12 iterations over the years and I’ve tried it on any number of journals. Then earlier this year I asked Catherine Smith for advice on a pamphlet submission and I was wailing about this one. She spotted the potential issues right away and suggested a bit of re-ordering, and as a result it’s now good enough for The Moth. This isn’t the first time Catherine has helped me on poems that aren’t quite ‘there’. She’s the real deal, for sure.
On the other hand I wish I could say I had a bunch of poems out at the moment but I haven’t started anything new in weeks. Several poems in for competitions (actually pretty much the same poems in different comps) and of course you never know. Can you imagine winning the National and then having to withdraw the poem because it was commended in the Waltham Forest comp? TEE HEE. Not that I’m dissing the WT AT ALL (results not out yet!) but I know that Paul McGrane (being involved in both comps) would blow the whistle on such a thing, and *AHEM* quite rightly!
Getting back to reality, I’m fortunate to be going to Cumbria in December for Kim Moore’s Poetry Carousel, so four days on a poetry roundabout and I should have a few proto-poems in the pipeline (not if I don’t kick THAT sort of alliteration in the teeth though). The other Carousel tutors are Malika Booker, David Tait and (gulp) Clare Shaw (the subject of this mildly inappropriate post last year) … it’s gonna be hot stuff.
Blogging and writing have been a bit off my radar lately as I am still struggling with a back problem which makes sitting or standing equally uncomfortable. But in brief:
I’m still hoping to get my quarterly poetry magazine windows update out later this week. Thank you for all the suggestions gathered via Twitter and email. If you’re not on the emailing list and would like to be please let me know in the comments.
I’ve booked for, and am looking forward to Kim Moore’s Poetry Carousel in the Lakes in December (brrr!) after having heard glowing reports of these events from poet friend Judith.
I’ve got 20 poems out to mags at the moment (some for over a year) so am probably due a few rejections soon, but who knows maybe the odd acceptance. I haven’t written anything new in a while so whatever comes back will probably go out fairly promptly once I’ve done my usual “is it actually crap?” assessment.
That’s all for now folks – off to the physio shortly so am trying to stay positive! I hope you’re well, and writing, and enjoying the (coolish) summer. Here’s a funny thing I saw recently in Alfriston – compare your height to those of various writers. I’m somewhere in between Will Shakespeare and Virginia Woolf.
It’s day 3 and I’m settling into my Cork Poetry Festival experience. Yesterday and today I’ve spent the morning writing and reading. Afternoons I go to hear readings at the library, evenings are in the fine Cork Arts Theatre – a lovely intimate size perfect for poetry.
Highlights for me so far:
Launch event for The Well Review issue 3 on Tuesday at the Music School: a wonderfully thought-out programme that followed the ‘music’ theme of the issue. In between readings by contributors (Sasha Dugdale read Anna Akhmatova both in English and in Russian – I marvelled at the way her voice changes in accommodation) we heard music for cello and piano, by Shostakovich, Britten and Mahler. Editor Sarah Byrne made the introductions and has a manner I want to describe as ‘sweet’ but I don’t mean that in a patronising or sugary way at all. Gentle, thoughtful, informed.
US/Irish poet Thomas Dillon Redshaw reading yesterday at the library, from his collection Mortal (Brighthorse Books) and some new material too – goodness, what moving poems from the experience of losing his mother ‘in her hundredth year’. One of them, ‘Theft’, was published by the Irish Times last Saturday.
Yesterday evening I loved hearing Pat Boran, another name I hadn’t heard of but I bought a copy of his ‘pocket selected’ A Man is Only as Good…(Orange Crate Books) and have already started reading & enjoying it. We also had Jessica Traynor reading from The Quick (Dedalus Press 2018). Great presentation and some wonderful poems. A poet I have heard read before of course is Kim Moore. I’d heard most of her set before and that was a big part of my enjoyment of it. She manages to make each reading (and the links) sound fresh, making me laugh at the funny bits as if hearing them for the first time.
Meanwhile I’ve actually already worked on four ‘archive’ poems (ie one of about 200 I’ve ‘put in the drawer’ over the years) and started a new one. The new one is partly a response to Thomas Dillon Redshaw’s poems about his mother. It’s been six years since my mother died, but just ten lines written this morning and I was crying my eyes out. I would blame it on hormones but I think that’s all done with now.
I won’t deny I’ve struggled a bit since arriving in Cork – people have been so kind on Twitter but by last night I was seriously wondering what sort of dreadful negativity I was giving off in real life! I’m so grateful to Sasha Dugdale for joining me at breakfast yesterday, but then later in the day she endured my moaning on about being a Jonny-no-mates – ugh! How embarrassing – I owe her a bunch of flowers at least.
I’ve reminded myself of a few truths: that I can’t have it both ways – I like my solitary time, I knew it would be challenge to come here not knowing anyone, I came to hear the work of poets new to me, and to be inspired. I didn’t come here to socialise, or to feel obliged to fit in with others – I am an outsider here so wishing that wasn’t the case is really a bit silly. So I’m over myself. I’m in Ireland for $£@*’s sake! I’m hearing some fantastic poetry! I’m extremely lucky!
Anyway, today’s another day entirely and from my first encounter with the famous Cork friendliness at the health club reception desk this morning (Shane! Thank you! I realise that you probably spell your name Siaorghne or something so please forgive my ignorance) to the brilliantly empty swimming pool, to the wonderful person on reception who offered me a different room, (in which hopefully I won’t be woken three times a night by the bins lorry) I feel encased in a glow of positivity and ready to turn a corner. Off to the library.
Members of the poetry world are aghast at a recently published ‘Independent Review of Support for Publishing and Literature in Wales’. It’s a long document (over 200 pages) but there’s one section in which Ty Newydd, the National Writing Centre of Wales, comes under fire for being allegedly out of touch with its market and being in need of better leadership.
I heard about it after John Foggin tweeted a link to Kim Moore’s blog post in which she defends Ty Newydd, both from a personal standpoint and generally. It’s a great post, if you haven’t already seen it. I wanted to just add my own thoughts, but I won’t go into all the details as Kim covers it all and argues her points with passion. There’s also a link to the report in Kim’s post.
The gist of the offending sections is that Ty Newydd, in running creative writing residential courses, is catering to people with no literary ambition and probably no talent, and what’s more nobody ‘in the digital age’ wants these kinds of courses anyway.
I couldn’t help feeling that quite a few things in the report were under-researched and ill-informed. Glossing over details, using loaded phrases such as ‘retired hobbyists’, inserting lazy generalisations…not what one would expect from an ‘independent’ inquiry.
Of course I bristled at the phrase ‘retired hobbyists’ for all the predictable reasons, and the statement that nobody wants these kinds of courses especially ‘in the digital age’ was, for me, at best a non sequitur and at worst a comment that can only be born of ignorance.
There were a lot of other things that struck me as strange. For example, apart from Seren being listed as one of the consultees, I saw no other mentions of Wales-based indy presses or literary magazines. I also got the feeling that it was considered fine to fund individuals (to finish a book, for example, although – oddly, given the report’s emphasis on publishing books as a meaningful outcome – no mention of books having to be published as a result of the funding) but CW courses are somehow beyond the pale.
I’ve only been to one course at Ty Newydd, the Carol Ann Duffy/Gillian Clarke residential, but it had a huge effect on me. Yes, it had its pros and cons, but I benefited enormously from the experience. It was in 2013 (photo above) and funded by the Hamish Canham prize money – I blogged about it here in fact.
And lastly, to answer the accusation in the report that ‘probably no-one goes on to publish a book’, on the course with me that week in 2013 were David Borrott (Porthole, smith | doorstop 2015), Anja Konig (Advice for an Only Child, Flipped Eye 2015), Ruby Turok-Squire(ThePhantom Fundamental, Lapwing 2017), Ben Rogers(Mackerel Salad, Emma Press 2016), Jenny Lewis (already a poet with a number of published books at the time of the course and since then Taking Mesopotamia was published by Carcanet in 2014), Ian Humphreys (who went on to win the Hamish Canham prize and was selected for the Complete Works III in 2016, Lizzie Fincham (Green Figs & Blue Jazz, Cinnamon 2016) and, well, myself – in fact the course led me directly to starting Telltale Press, which has published first pamphlets by five poets, which also adds to the book count. So if books are what impress you, dear report-writers, put that in your digital inkwell and smoke it.
This blog post has been some weeks in the prep – I realise my ambition to have a Regional Focus every month was a bit, well, ambitious! Anyway, here’s the second in the series (following on from the very popular Leicester Fiesta in January). In this episode I’m taking a virtual nose around that most poetic of regions, the Lake District, or more precisely the county in which it lies, known since 1972 as Cumbria. There are some tricky questions to be answered, such as – Is there more to the poetry scene than ‘those Lakers’? and Where do the present-day poets hang out? and Do waterproof trousers work?
If you’re scratching your head wondering where Cumbria is even at, here’s a clue, courtesy of our friends at Wikipedia:
If like me you grew up in an urban environment and still find the sight of lambs in fields worthy of comment “Ooh look!” then (like me) you probably love Cumbria, or even just the idea of it. All those romantic paintings of Lakeland scenes, the image of Wordsworth and his chums hiking all morning and sighing over their quills all afternoon. It is a shock to drive off the M6 not far north of Preston and suddenly feel like you’re in Switzerland. It’s so gorgeous up there you almost forgive how wet it is, because when the sun does come out – ah well, as a little taster here’s a pic I took last year when we were there for my birthday at the end of October:
But all those lakes and mountains come with a caveat – don’t even think of getting from A to B in a hurry. I speak as someone who once thought she’d take a short cut in an old car over a near-vertical pass, only to have the clutch give out. In the words of one of my correspondents, Kathleen Jones: “Cumbria is a region without a major city and the mountains and lakes make getting around the county very difficult. Because of the geography it can take two and a half hours to get from Carlisle to Barrow.” Andrew Forster of the Wordsworth Trust looks on the bright side: “The Lake District is primarily a rural area with no major cities. I think because of this people tend to travel more than they would in urban areas to support the events that do happen, and that helps develop a much more widespread sense of community.”
But, as Kim Moore puts it, “Although Barrow is only 35 miles or so from the motorway, it is a slow road with only intermittent dual carriageway. Getting to readings or workshops is always a bit of a mission.”
One result of the relative isolation of the different towns is that a good number of them have developed as vibrant centres for poetry and poetry events.
Firstly, allow me to introduce my special correspondents. As ever, I’m very grateful to them all for taking time out of their busy schedules to answer my questions in such detail. I hope I’ve effectively summarised all of their main points. Unsurprisingly, some names and events were mentioned by all.
Writer Kathleen Jones was born in Cumbria, and returned there after spells living abroad. The author of fourteen books including eight biographies, a novel and a collection of poetry, Kathleen is currently Royal Literary Fund Fellow in the Creative Writing Department at Lancaster University. “The Lake District has always been important to me as a writer,” says Kathleen, whose first poetry collection Not Saying Goodbye at Gate 21 contains many poems rooted in the landscape. She’s written two biographies centred on the literary history of the area: A Passionate Sisterhood – an account of the lives of the sisters, wives and daughters of Wordsworth, Coleridge and Southey – and a biography of Cumbrian poet Norman Nicholson.
My second informant is Andrew Forster, Literature Officer at the Wordsworth Trust. “I moved to Cumbria seven years ago to take up my current post as Literature Officer at the Wordsworth Trust. It’s a particularly generous-spirited place, and I have been part of a number of poetry communities. When I took up post a number of poets came to meet and welcome me, and I had several invitations to read and join things, and I now count some of those among my closest friends.”
What Andrew didn’t tell me was that he is a widely published and award-winning poet with two full-length collections to his name. (I found this out on his website!) I should also add that all my correspondents were unstinting in their praise for what Andrew does for literature in the area.
A relatively new name on the poetry scene is Helen Fletcher, reporting for us from Carlisle. Helen’s poetry has been published in a range of journals including Brittle Star, The Frogmore Papers and The Interpreter’s House, and she used to be a costumed interpreter at Wordsworth House in Cockermouth, where there are regular informal talks on poetry and social history. “Cumbria was a superb place to come out as a poet. It is a diverse and unpretentious scene which is very welcoming of new writers.”
Finally, I couldn’t really run a feature on Cumbria without asking Kim Moore for her words of wisdom and insider knowledge. I love her blog and think it may be unique in its style and content – three parts diary, three parts showcase for other poets’ work and one part travelogue (I think Kim spends almost as much time journeying as Ian McMillan). Um, how many parts is that? Kim’s first full collection is out shortly with Seren. Her pamphlet ‘If We Could Speak Like Wolves’ was a winner in The Poetry Business Pamphlet Competition and was shortlisted for the Michael Marks Pamphlet Award and the Lakeland Book of the Year Award. Kim tells me she’s lived in Barrow for 11 years. “It does inspire my writing – although I would say it sneaks in without me noticing a lot of the time. I do like living in Barrow – I’ve found the people really friendly and the Lake District is right on the doorstep. It’s also a really cheap place to live, both renting and buying a house. The only downside is how isolated it is.”
Q1: Are there any specific towns/cities with a vibrant poetry scene?
Andrew Forster (AF): Kendal is the biggest town in the South Lakes. It has the Brewery Arts Centre. Grasmere, where the Wordsworth Trust is based, has been steadily developing as the centre for poetry in the north west.
Helen Fletcher (HF): Ulverston in the south has an annual Victorian festival and is the centre for ‘A Poem and a Pint’ poetry events. Cockermouth also has several modern poetry writing groups and a good arts venue, the Kirkgate. Keswick has an annual literary festival.
Kathleen Jones (KJ): Eden Arts Trust in Penrith has just started to put on some events at The Old Fire Station and it’s going to be interesting to see how it develops.
Kim Moore (KM): Elsewhere in Cumbria, there isn’t one particular place that has a vibrant poetry scene – it is such a large, rural county that there are a few poetry events scattered throughout the county rather than concentrated in one place.
Brewery Arts Centre, Kendal
Q2: Who are the poetry ‘movers and shakers’ ??
AF: Kim Moore is a human dynamo who seems to have more hours in her day than the rest of us. She’s on the committees of ‘A Poem and a Pint’ and Brewery Poets, and also runs an annual workshop with Jennifer Copley in Grange over Sands. (More on these below). Ann Wilson has been at the forefront of a number of spoken word projects and currently runs the Brewery’s monthly open mic night ‘Verbalise’ (See below). Angela Locke runs Mungrisedale Writers out on the west coast, and is also involved with the Maryport Literature festival which has a good poetry presence. Geraldine Green runs poetry workshops with Brantwood and at other places. Mike Barlow is actually based near Lancaster but is a frequent presence in Cumbria and runs the new Wayleave Press, beautifully produced pamphlets of quality poetry from a mix of established and emerging poets.
KM: Andrew Forster at the Wordsworth Trust, Ann Wilson – Spoken Word organiser at The Brewery in Kendal and Katie Hale who works for New Writing Cumbria.
HF: I have most awareness of the North of the county. Cumbrian poet Sam Smith runs the independent international poetry magazine The Journal. Christopher Pilling, Nick Pemberton and Jacci Bulman have done a lot of work for many years locally to support other writers by organising poetry writing groups and events. There is a real wealth of talent in the county but to choose one for me it has to be Emma McGordon, whose pamphlet was published by Tall Lighthouse. I thoroughly recommend attending a live performance of her brilliant writing.
KJ:Andrew Forster at The Wordsworth Trust. The Trust really does look to the future rather than the past – Dove Cottage in Grasmere has always hosted wonderful poetry readings, importing big names like Sharon Olds and Robert Hass, and enabling people living here to see poets that normally only get a hearing in London.
Kim Moore is one of the rising stars of the Cumbrian poetry scene. She’s the reviews editor of Compass, a new poetry magazine just launched, co-edited by Andrew Forster and Lindsey Holland. This looks as though it’s going to be a good magazine to contribute to. Kim also organises workshops and residential courses.
Q3: What regular poetry events are there in the area?
KJ: The Brewery Arts Centre, Kendal has a regular workshop group and organises poetry events, usually with open mic opportunities.
HF:Verbalise is a monthly open mic night at Kendal Brewery Arts Centre. Usually the last Saturday of the month from 7.30pm. Very welcoming, run and deftly compered by Ann Wilson.
KM: ‘A Poem and a Pint’ based in Ulverston but venues change from night to night. A typical audience is anything from 20-60. I’m one of the organisers.
HF: ‘A Poem and a Pint’ hosts impressive poets at its readings, the most recent being Kei Miller. There is usually some live music too.
KM: The Wordsworth Trust holds workshops/readings throughout the year but bi-weekly readings throughout the summer. There’s always something going on at Dove Cottage in Grasmere, either workshops or readings.
AF: The Wordsworth Trust programme is undergoing some changes at the moment after losing its Arts Council funding last summer. There is another application in at the moment which we will get the results of in June, and there will still be events over the summer.
KM: Open Mic at Zefferelli’s in Ambleside – Andrew Forster and the Wordsworth Trust run the open mic.
KJ:The Words by the Water literature festival in Keswick every March has a small poetry element and has become part of the literary life of Cumbria. The Mirehouse poetry competition, run as part of the festival, is now one of the annual national prizes. The Old Fire Station, Penrith, is very new as a venue and I’ll be keeping on eye on events here, as it’s my local! One of the big events is The Winter Droving – a celebration of Penrith’s historic past as a centre for cattle and sheep drovers. There are masked processions and lanterns and music. This year there was a call for tweet poems on the subject of droving and we all contributed tweets that were chalked on boards around the route of the procession.
Winter Droving in Penrith – similarities to Lewes Bonfire, but more animals. Photo by Katie
KJ: Senhouse Roman Museum at Maryport hosts an annual literature festival that includes poetry readings and workshops and a competition.
HF: The Maryport Literary Festival – it has a fresh fringe-style feel.
KJ:Bookcase in Carlisle often hosts poetry readings and Steve and Gwenda Matthews who own the bookshop have also been involved in the setting up of a new festival ‘Borderlines’. The first one was last year, and it was a lovely festival with some fantastic events. The next, in September 2015, will have a more significant poetry element.
Interior of Bookcase in Carlisle
HF: Carlisle Cathedral supports a poet in residence and Bookcase, Castle Street, has been a long-standing host of first poetry collection launches and of readings of established poets such as Jacob Polley. Also in Carlisle, Speakeasy open-mic night meets weekly at a new venue Andalusia, Warwick Rd.
HF: I am always impressed by the numbers that attend workshops in Cumbria. The best I have attended is Jennifer Copley and Kim Moore’s workshops & residential at Kents Bank, Grange. They teach regularly and are running one again this Easter.
Q4: People (especially those outside the poetry world) tend to think that poetry + Cumbria = the Lake Poets, and that’s it really. What do you say to that?
AF: If you’re outside the poetry world it is understandable in some ways. The Lake Poets were at the forefront of the discovery of the Lake District , and it is hard to go anywhere without their poetry in your head telling you they were there first. This is very wide of the mark though. The Trust particularly is viewed as a rite of passage for poets, with almost everyone wanting to come and read here. About ten years ago the poet and translator Chris Pilling edited a New Lakeland Poets’ anthology which went some way towards indicating the wealth of talent that’s still here and a lot of us are engaged in addressing the Lake District in a modern way in our poetry.
I’ve talked about events organisers but there are other poets here too who are quietly getting on with it. Jacob Polley (not living here anymore but still with strong links) Mary Robinson, Chris Pilling, Polly Atkin, Mark Ward to mention just a few.
KJ: The Lakeland poets have been dead for a very long time – but the tradition still lives on. There are a lot of very good, award-winning, poets living in Cumbria. Must be something in the water! The modern Lakeland poets (though not all were born here) are an impressive lot. They include Terry Jones (no relation), Kim Moore, Andrew Forster, Jacob Polley, Chris Pilling, Helen Farish, Josephine Dickinson, Paul Farley, Jennifer Copley, Geraldine Green . . . there are lots of others too.
KJ: A plea for more arts funding for large, rural areas like Cumbria. Poetry and other literary events shouldn’t be concentrated in the big cities. Newcastle, Manchester and Liverpool are a very long way from Cumbria and not an option for a night out! One thing I forgot to mention in my area is the Wordsworth Bookshop in Penrith – they are an independent bookshop and marvellous at arranging readings – they supply wine and cupcakes and always have a lovely audience. They don’t have enough money to pay, but if you’re promoting a book it’s a great venue.
Q6: And finally, any interesting factoids for us?
KJ: Cumbria wasn’t a permanent part of England until the mid 14th century – Scotland thought it ought to belong to them. It has the wettest place in England, the deepest lake and the highest mountain.
HF: Ulverston is the birthplace of Stan Laurel (of Laurel & Hardy).
PS: yes, waterproof trousers do work and in my humble opinion are a must when visiting the Lakes. I got a very cheap pair of overtrousers from Blacks and haven’t regretted it. Great for golfing in the rain too.
Since my last post I had a very welcome email from Jan Fortune at Envoi to say she would take for the next issue all five of the poems I’d sent her. Just the sort of thing you want in your inbox, and on National Poetry Day too, hurrah!
I’m particularly pleased about one of the poems because it’s been through several iterations, first started in 1999 back in the day when I did write poems but they were mostly confessional/therapeutic or else experimenting with form in quite a crude way. I’ve kept most of that material, and although none of it is publishable or even good writing there are some nuggets of good ideas which I sometimes go back to. This particular piece started life with the title ‘Scar’ but is now called ‘Closure’, kind of apt.
So then I thought I’d do the numbers on my submissions/rejections record. It’s been a while since I’ve done any analysis and invariably it reveals a surprising insight or two.
We’re always being told to send out rejected poems again – a rejection doesn’t necessarily mean it’s a bad poem, etc – and there’s that legendary tale of how Kim Moore had a poem rejected 14 times and then it was accepted by a fine magazine – as told in this super blog post by Roy Marshall.
Apparently, of all the poems I’ve sent out to magazines, 21% have been accepted first time, and 18% get in after 1, 2 or 3 tries elsewhere. I’ve not yet had a poem accepted that’s been rejected more than 3 times already. Of the six poems I’ve had rejected between 4 and 7 times, three of them are currently out again. Of the 61% of poems that have been rejected, half of these were rejected once and never sent out again.
I know it’s not the slightest bit scientific but these stats suggest two things to me. Firstly, I’m giving up on the majority of poems too soon, while perhaps holding on too long to a few ‘favourites’ when I should just let them go. Secondly, I need to keep writing more new material.
One thing I ought to say though is that some of the re-sent poems have been tweaked or even changed a lot before re-sending, which probably muddies the stats.
Actually I was surprised how many times I’d given up after just one rejection, I thought I was much better than that at sending out again.
What about you – do keep going with a piece when you believe in it? What’s the most number of times you’ve sent something out? Do you send a poem out again without modifying it, or do you make changes?
I love the way you can come across a poetry blog that’s new to you and then suddenly two more jump out – just like a row of Routemasters. So here’s the first of what may become a regular feature – a triptych of enjoyable poetry blogs. Let me know if you have any recommendations for future Triptychs.
Fuselit– the editors’ blog. Fuselit describes itself as half magazine, half collaborative art project – a London-based journal of poetry, short fiction, art and sounds. I remember sending off for their ‘Aquarium’ issue and was amazed at the package that arrived – not one, but two little hand-made booklets, a mini-disc of music and three micro fridge magnets of sea creatures. I would call it ‘charming’ if the word hadn’t been horribly corrupted. Anyway, do take a look. Plus there is a new spur word for submissions, FOSSIL. Great fun and many thanks Kirsten Irving et al.
Anthony Wilson – This was a ‘rediscovery’ – after reading Anthony’s touching tribute to Smith’s Knoll I realised I was already subscribed to this blog. Apart from his fascinating musings, super in-depth reviews, recordings of his poetry readings and other numerous projects (such as the ongoing Life Saving Poems) Anthony offers us a huge blogroll and rich resources list. Fantastic.
Kim Moore – I really like Kim’s natural tone of voice, I feel like we’re having a conversation when I read her blog posts. Her blog features anecdotes, readings, reviews, a Sunday ‘featured poem’ and MORE (sorry). I’d love to go on the writing weekend Kim’s currently promoting, in Cumbria, but it’s February half term and clashes with the recording my choir is making. Shame, because the poetry course sounds fab.
(PS I recently blogged about three other poetry blogs I enjoy, over at Blogging for Creatives.)