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I disagree with the observation that, since disrupted syntax, shifts in levels of discourse, and other apparently innovative techniques are ...

In ‘Saws’, Trevor Joyce writes of ‘Drifting hungers and accessory rage’. Eléna Rivera writes in ‘See’, ‘The limit of reproduction and replic...

Amongst the many interesting things on the Great Works website is Peter Philpott’s explanation of why he publishes on the internet. In it, h...

A Response to Chris Hamilton-Emery Though his approach modestly takes account of the limitations his need as a publisher to identify a “com...

Clark Allison Clark Allison has published the prose poem 'Six Paragraphs' as well as reviews of George Oppen and Barbara Guest at St...

[Chris Hamilton-Emery, of Salt Publications, asked a very similar question to one I was framing on the British Poets list. Zeitgeist or (M)o...

Welcome to the fourth series of Pages, which I intend to keep focussed upon a single issue. Under the general title Turning the Pages I am p...

I have been posting these Pages for two years now. It’s time for rest and reflection. The aim of this series was to present a BLOGZINE , to ...

‘September 12’ (the sequence) is made up of ‘sonnets’ written in 2003-4. Numbers one to 12 appeared in Shearsman magazine and numbers one to...

I have been writing fiction lately, and this piece, Love Life, was written at the invitation of Manchester band Performance, particuarly Joe...

This response to the Partly Writing 2006, I don't think, ever saw the light of day. I had wanted to include it as part of my inaugural, ...

I have a new professional web page at Edge Hill University, complete with air-brushed photo so I look like a wax dummy of myself (appropriat...

You can now hear me read my work at the Archive of the Now, curated by Andrea Brady at Brunel University, and follow some links there too, h...

Wind a Dead Tired No More Rushed in flesh stretched tubes before the word was known, before the actual canal was mine in my mother’s realit...

This is what happened to me. Tony thrust a copy of Tin Pan Arcadia into my hands and made me get up on stage and not sing, which I might h...

This is the rest of The Blind Lemons (Tony is behind the amp.)

This is my friend Tony Parsons, to whom I dedicated my poem 'Smokestack Lightning', and with whom I used to sing in Little Albert F...

George Oppen talks of his tireless ear; that he believes he has it and then looks for the words for it, through hundreds of drafts (think ab...

Rupert Loydell and I wrote this 26 part sequence together and it is now published by Damaged Goods, apress you might never heard of, and of ...