Monday, 19 June 2017

It's the launch on Wednesday...!

Just a quick reminder: twenty years after writing its first poem, I'll be launching The Knives of Villalejo at the London Review Bookshop (14 Bury Place, WC1A 2JL) this coming Wednesday at 7 p.m.. If you're in the vicinity, I'd be delighted to see you there!

Tuesday, 13 June 2017

The epigraph

As my launch date moves ever closer, I'd like to share the epigraph to The Knives of Villalejo. It's taken from Julio Cortázar, who has long been best known as a prose writer but whose poetry is outstanding:

No aceptar otro orden que el de las afinidades, otra cronología que la del corazón, otro horario que el de los encuentros a deshora, los verdaderos.

One possible translation might read as follows:

No accepting of any order other than affinities, any chronology other than the heart, any schedule other than encounters at an inappropriate time, the true ones.

Monday, 5 June 2017

An exciting new poetry pamphlet publisher

The emergence of a new poetry pamphlet publisher is always good news. In the case of Against the Grain Poetry Press, that excitement is compounded by the names that are behind it - Abegail Morley, Jessica Mookherjee and Karen Dennison - and a terrific initial statement of intent (see here). What's more, their submissions window is now open...

Friday, 2 June 2017

Forthcoming readings

Apart from the London launch of The Knives of Villalejo on 21st June, I've got a number of other readings lined up this autumn and into 2018, while there's already one event scheduled for 2019. More details to come over the next few months.

I gave readings in Portsmouth, Lewes, Nottingham, Shrewsbury, Leicester, Coventry, London (three times), St Andrews, Edinburgh, Cheltenham and Oxford from my HappenStance pamphlets, and I'll be delighted to get back on the road with my first full collection. I'm available for extra dates, so if you organise an event yourself (or know of anyone who does), please do get in touch and we'll work something out.

Tuesday, 30 May 2017

What makes for a good cover?

When sifting through the ever-varying pile of poetry books on my desk, I wince at some of the covers, while others just seem to demand that I should dive in and start reading, so what makes for a good one?

Like so much in packaging and presentation, it's subjective. As I know from designing wine labels, everyone's taste is different, and one important point is to know your target audience. And then there's the question of balance: eye-catching but not garishly so, an attractive font but not over the top.

However, for me, perhaps the most pivotal point is how the cover images and design relate to the book's title. If they are disparate, that won't draw anybody in, while a simple physical reflection or depiction of the title doesn't bring much to the party either. My favourite covers are those that clearly fit within a publisher's house style and build on the idea of stablemates, complementing the title, hinting at the book's contents, enticing the reader along.

All of the above is on my mind when I consider the cover that Edwin Smet at Eyewear has designed for The Knives of Villalejo. Of course, I'm totally biased! What do you think...?



Sunday, 21 May 2017

Recasting old territory, Simon Armitage's New Cemetery

At first sight, this review might seem a contradiction in terms. If Rogue Strands tends to concentrate on poetry from beyond the big publishers, why feature Simon Armitage, who’s among the most renowned contemporary poets in the U.K.?

Well, the reason is easily clarified. Today’s focus is not on his recent publication from Faber, but on New Cemetery, his collection from propolis books. They are an imprint that’s been created under the auspices of The Book Hive, one of the best independent bookshops in the country and well worth a visit if you’re ever in the Norwich area.

New Cemetery is unusual in several ways. First off, there’s the physical aspect. At a distance, from the other side of a room, it might resemble a desktop diary, but closer inspection shows it’s a gorgeous artefact with extremely high production values. Some people might be sniffy about paying almost thirteen pounds for nineteen pages of actual verse, but you’re getting far more than that for your money. The quality of the paper is palpable and the typesetting impeccable, while the artwork is limpid and complements the verse with a stark, naïf quality.

All of the above leads us on to the verse itself, which is also unusual. It might initially seem a break with Armitage’s trajectory: a book-length sequence that’s written in three-line stanzas without a clear narrative drive. Collage effects are achieved by juxtaposing physical descriptions with ruminations on life and writing, all interwoven with illustrations. Nevertheless, a detailed reading of New Cemetery yields unexpected connections with Armitage’s previous work, all alongside indications of a new way forward for him.

Whether you like it or not, Armitage’s first full collection, Zoom!, was a landmark in late 20th-century U.K. poetry. What’s also clear is that his following books struggled to match its incredible energy, intimate and social connections with its surroundings, and intoxicating immediacy. Instead, book by book, Armitage’s verse gradually seemed to step back somewhat from everyday life so as to understand it better, taking a route that led away from Zoom! New Cemetery, meanwhile, finds the poet reconnecting with the physical and aesthetic territory of his first collection, but approaching it from a different direction.

New Cemetery homes in on the West Yorkshire countryside via a shed where the writer works. Nearby, the local council have begun peeling back turf to turn a former cow-field into the new cemetery of the title. This book is littered with local and personal landmarks, as the poet blends physical observations with layered meditations.

And what about the fizzing syntax of Zoom!? Or the conscious stretching and straining for effect of Armitage’s later collections? In New Cemetery, both are replaced by short. sparse, pared-back lines that reflect the poet’s re-found ease with his own use of language, as in the following extract:

“but no amount
            of deranged swinging
                        can begin to unlock

the dead from the living.
            The winds of the world
                        blast and rattle

that private wood,
            and the wishbone rides
                        in the tuning fork.

New Cemetery might first appear an insignificant volume in the context of Simon Armitage’s work. Nevertheless, its importance shouldn’t be underestimated. By recasting old territory in the light of maturity, the poet has successfully pushed back his own boundaries and found a direction to be explored in future volumes. As such, this little book isn’t just a curiosity; it’s pivotal to our understanding of Armitage’s development.

Sunday, 14 May 2017

The launch of The knives of Villalejo

A spot of advance warning: The knives of Villalejo will be launching at the London Review Bookshop (14 Bury Place, WC1A 2JL) on Wednesday 21st June at 7 p.m.. I'll be giving a reading alongside other Eyewear poets. If you're in the area, I'd be delighted to see you there!