Saturday, July 23, 2016
Monday, July 18, 2016
There is also another review of History or Sleep: Selected Poems by Nikolai Duffy (which I like a lot). Details here, on the Shearsman site, and an account of the launch here (with links)
And (I haven't finished reading this issue yet) there's Christopher Madden's extended piece on addressibility, 'Lyric Voice and You' (which can be read on The Wolf website here).
So thanks to James and Sandeep and Nikolai and Chris.
Thursday, July 14, 2016
Other recent and, frankly, more orthodox Sheppard publications (books of poems mostly) may be read about here.
Wednesday, July 13, 2016
Pete Clarke has collaborated with me (I have collaborated with him) on making a number of prints over the last few years and I posted images from our Edge Hill exhibition here and here. A later work for the Print Bienniel in Krakow may be viewed here and Pete's own website is here. One was a runner-up for the Adrian Henri Prize.
In der Betonbox positionieren sich zeitgenössische Standpunkte mit eine Perspektive auf die Poesie. So stellt sich im Rahmen der Düsseldorfer Poesietage auf dem Dach des alten Hochbunkers die Frage, was ein aktuelles Verständnis von Poesie sein kann. Am Anfang der Veranstaltungsreihe steht die These 'Am Ende ist es Poesie'[..]
|From Georg's photos these seem to be three exhibited (or versions of them; remember they are prints)|
Performance Abend: Montag, 13.06.2016, 19 Uhr
Finissage: Sonntag, 19.06.2016, 11 - 17 Uhr
|Pete's three exhibits|
Other participants (with links) include:
Sunday, July 10, 2016
This sonnet (a domestic poem with a political edge) comes from a series of 14 called 'It's Nothing'. Another poem from the same (the first published poem with the word 'Brexit' in it? Maybe, but not the last, despite its title), 'Last Look', also appeared in The International Times: here. (Here are some other poems that use the word 'Brexit'.)
See my previous sonnet in International Times here:
And the one before that, not a sonnet (!) here:
Thursday, July 07, 2016
There's always this, here, for those who missed the EUOIA (European Union of Imaginary Authors) build-up to the vote.
(The interesting crossover with the Chilcot Report on the Gulf War released yesterday and BREXIT is that both were national governmental acts with no plans laid down with a thought to what might occur after: and there are several other links between them, despite the obvious differences.)
It's also 7th July, so here's reminder of so-called 7/7 here, a poem 'Byron James is Okay', that comes from my war on terror book Warrant Error.
Update: BORDERS KILL is reviewed here, in foreign. My poem turned out to be the draft of a 100 word sonnet (a form I'm returning to after 20 years or so to write another sequence of sonnets for an amassing project, not now called Song Nets).
Monday, July 04, 2016
The Robert Sheppard Symposium will involve a series of research papers and presentations on any aspect of Robert Sheppard’s creative and/or critical work. (I hope more on the former than the latter.) The format will be panel sessions throughout the day and a reading during the evening (please specify if you would like to be considered for both). (I’ll be reading in the evening, but I won't be in the sessions, though I might hang around during the day. I believe in leaving the delegates alone to respond unimpeded by the symposium’s subject.) A guide to my recent books here.
- ‘Linguistically innovative poetry’ techniques. Use of form, measure, line, enjambment, poetic diction.
- Form(ing)s, sequences. New approaches to Complete Twentieth Century Blues and/or History or Sleep.
- The Necessity of Poetics as a speculative, flexible discipline.
- The poem as a musical score. ‘Smokestack Lightning[s]’. Blue Sinatra’s. Voice, performance. Notation as compositional method.
- Continuities: educating desire / the reader as participant. “The aim [is] to activate the reader into participation, into relating differences, to sabotage perceptual schema, to educate desire, not to fulfil it in a merely entertaining emptying of energy. To create, above all, new continuities.” ‘Poetic Sequencing and the New’, in Complete Twentieth Century Blues, p. 83.
- Archival schematics. [Empty] Diaries. Arrangements of the book.
- The shadow work of history. Unwritings and pluralities of self. René Van Valckenborch meets Orpheus / Sparagmos.
- Assembling the ‘autrebiography’ (CF Attridge). ‘Thinking of someone else’. Self-othering. Unwritings and the orchestrations of history.
- RS as critic (A Poetry of Saying, When Bad Times Made for Good Poetry, The Meaning of Form). Spheres of influence.
- Kinship: Lee Harwood, Bill Griffiths, Bob Cobbing, etc. Dedicated works.
- The European Union of Imaginary Authors. Hoaxes, satires, humouring[s]. Wayne Pratt and The Penguin Book of British Parrots.
- Ars erotica, ‘Fucking Time’. The ‘Erotic elegy’: sex, smut, innuendo.
- Kitsch: In both versions of ‘Poetic Sequencing and the New’, RS states his sensibility as being “to refunction kitsch”.
Please send a 150-200 word proposal to firstname.lastname@example.org by October 3rd 2016
More information here: