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Saturday, July 23, 2016

Storm and Golden Sky summer reflections

Storm and Golden Sky last night was a great success: Lauren De Sa Naylor and Nathan Walker.  This reading was part of the 2016 Liverpool Biennial Fringe (though none of us is quite sure how that came about).

 
This is the last reading of the season. Back in September with Susan Bee and Charles Bernstein: Friday 30th 2016.
 

I usually delete the posts/adverts for the readings once they have been , but I want to preserve Nathan Jones' excellent image for this gig: 
 


 
Another task is to assemble a list of our readers to date. I have false memories of people reading and who haven't and I also think some people haven't read yet and they have. It's to get a sense of history... How long have we been doing them? I'm not even sure.

Monday, July 18, 2016

The Wolf 33: EUOIA poem and review of History or Sleep plus other pieces

See here for details of The Wolf 33, which contains a poem by Eua Ionnou, the European Union Of Imaginary Authors poet Kelvin Corcoran and I invented. (Read her biography here.)

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

Robert Sheppard's Avant Garters on sale in the Zimzalla Avant-objects Series


Robert Sheppard doesn’t often design garters nor does he usually compose monostichs. But he saw a pair of eighteenth century garters in a Lancaster museum with mottos embroidered on them and thought he could produce monostichs (one line poems) for a modern pair. He hadn't thought of them actually being manufactured. Neither had he realised that this ancient garment/moral instrument had endured into the current age in wedding lingerie.


No matter: he offered the erotic poems to Tom Jenks for his Zimzalla series and Tom (ever the resourceful craftsman as he has proved with this varied series) set to work. You can just about read some of the words in the photo above.

This is the result:

Robert Sheppard – Avant Garters poetic hosiery wrapped in gold paper and sealed with wax.

buy here or visit Zimzalla page here.

£6 within UK; £8 elsewhere.

Other recent and, frankly, more orthodox Sheppard publications (books of poems mostly) may be read about here

Wednesday, July 13, 2016

Robert Sheppard and Pete Clarke: Images of Exhibition in Duesseldorf

Am Ende ist es Poesie: a recent exhibition of art relating to poetry at BETONBOX in Duesseldorf (deep in the heart of Europe)

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)
Betonbox: http://www.beton-box.de/



Vernissage: Samstag, 11.06.2016, 20 Uhr
Performance Abend: Montag, 13.06.2016, 19 Uhr
Finissage: Sonntag, 19.06.2016, 11 - 17 Uhr

Pete Clarke submitted some of the pieces he and I worked on and Georg Gartz, a fine Cologne artist with whom Pete also collaborates, kindly took these photos of the prints shown above in situ:

Pete's three exhibits


Other participants (with links) include:

Sunday, July 10, 2016

Robert Sheppard 'Untitled' from the sequence 'It's Nothing' published in the International Times

Read the poem, 'Untitled' here.


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'.)

Thanks to the poetry editor, Rupert Loydell. And to the illustrator Claire Palmer.

See my previous sonnet in International Times here:
(‘Avenge’, another sonnet, a contrafact on Milton’s ‘Avenge O Lord…’, and featuring elements concerning the (female) Yasidi resistance to IS, is not from 'It's Nothing', but belongs to a connected sequence, 'Overdubs'.)

And the one before that, not a sonnet (!) here:
(‘Workless Washday’, a birthday poem for Frances Presley).

Thursday, July 07, 2016

BREXIT poetry magazine online now

A new pdf BREXIT magazine, BORDERS KILL, edited by David Grundy and Lisa Jeschke, is now available at the following link. I have a (rushed, unfinished, onlyhadamorningtodoit) poem in it; so do many others.

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.

48%

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

Robert Sheppard Symposium March 2017 Call for Papers


Robert Sheppard Symposium

Wednesday 8th March 2017: Edge Hill University

Chairs: Joanne Ashcroft, James Byrne, Tom Jenks and Christopher Madden

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.

Papers are to be no more than 20 minutes and may wish to consider:

- ‘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 byrnej@edgehill.ac.uk by October 3rd 2016
 
More information here:

tinyurl.com/h6zfzfa

and here

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