The Conversational 11 with Barbican Poets Aisling Fahey, Nadia Khomami and Zionite, representing a range of poetics… http://t.co/HehI4Jfn
RT @eireannmor: In London? Like poetry? Like geology (or willing to)? Next Monday, 10 Oct, FREE: www.geolsoc.org.uk/geopoetry C.f. free …
Popshot Magazine 6 – The Love Issue – out now, featuring flipped eye’s very own Max Wallis, among notable others… http://t.co/pUJzLX6D
Freelance writer Lisa Hitchen’s experience of one of my masterclasses for poets in education here: http://t.co/IdVz4TD4 — Thanks, Lisa!
- Seth’s Blog: Run your own race
Sent first stanzas for collaborative poems to @libwithattitude for Write Path— pushing poetry through schools via tech: http://t.co/GdxJGWMc
In other news, I’m en route to Plymouth in advance of tomorrow’s 6hr masterclass for poets in education. 3 hour train journey. Email? Write?
Advance copies of my collection ‘Breaking Silence’ should arrive any day now. Official publication date October 27th. Excited? For sure!
This year’s intake for Barbican Poets has been confirmed. Excited by the range and quality of work. Looking forward to pushing them further.
Video: INKLING BY WACOM (by Wacom) Gadget lust. Seriously. I’m no illustrator, but I’d happily spend some… http://t.co/m11IfwAs
INKLING BY WACOM (by Wacom)
Gadget lust. Seriously. I’m no illustrator, but I’d happily spend some time thinking about ways I could use this…
Aoife Mannix, Riga.
Long time, no photo-post. Life gets in the way sometimes. But I’ve added a new camera to my arsenal: I’m now shooting with a Bronica ETRSI. It’s a different experience from shooting with the Yashica 124G I shot with for most of last year, and the format for prints comes out as a rectangular 6x4.5 (as opposed to the Yashica’s square 6x6). The Bronica is heavier, more of a conventional single lens form factor complete with loud mirror drop action and demands a bit more dexterity to operate; the Yashica seems designed for ease of operation, where settings and focus can be adjusted without any significant shift of grip.
That said, I’m already falling in love with the Bronica. It arrived just before a trip to Latvia, and I was cautious with it, not knowing how it would handle. Having seen the first couple of rolls, I’m wishing I’d shot more.
Managed to squeeze in two more meetings with mentees today. Sometimes it’s all about asking the right questions…
the world still by noticing how the world moves. Butterflies
fear the pins of this method, I fear what happens
after the pinhole at the end of this sentence.”
- Bob Hicok, ‘Waiting For My Foot To Ring’.
"Every time I write, I try to hold the world still by noticing how the world moves. Butterflies fear the…" http://t.co/U5kBJfv9
Blogging from the open road (en route to Birmingham): on the importance of listening in workshops… http://t.co/7Nnx57b2
I’m on the road, running masterclasses for poets who want to develop their teaching practise and work in education up and down the country. Southampton at the beginning of the week, Norwich yesterday, Birmingham today and six more to go. Six hours of tools, techniques, challenges and practical issues, and there’s so much to cover.One of the things I’ve underlined in every session is the need within a workshop to establish an awareness of goals. I always try to create some space for the people I’m working with to let me know what it is that they want to get out of our time. Or at least to ensure that the people I’m working with feel they’re being listened to. One of my goals is to encourage my students/participants to claim ownership of their experience. The reality is that many of the students I meet in my school visits didn’t come to class for a poetry workshop. They’re sitting in front of me because someone else has decided that they have to be there, that they have to learn something about poetry, or that poetry might be an interesting way to explore some other subject. But I don’t want to try to push ideas into anyone’s head by brute force— ideally, I want minds open and ready to receive. So I listen. I create a space where listening is a valuable act.
There are three sets of goals to consider in any workshop: your own, as the facilitator; the teacher or institution who/which has booked you; and the students/participants you’re working with. Your challenge: to balance those (sometimes conflicting) considerations and create (curate?) a valuable, meaningful experience.
Not to forget, the workshops we run as poets can allow our students to open up and explore parts of themselves that they don’t reveal to the teachers (and even other students) they see every day. If there’s no value placed on the act of listening, those revelations go unheard, if they even happen at all.
(via Robert Greco)
"When it’s over, I want to say: all my life I was a bride married to amazement. I was a bridegroom,…" http://t.co/PK5oRoQn
"When it’s over, I want to say: all my life I was a bride married to amazement. I was a bridegroom,…"
When it’s over, I want to say: all my life
I was a bride married to amazement.
I was a bridegroom, taking the world into my arms.
When it’s over, I don’t want to wonder
if I have made of my life something particular, and real.
I don’t want to find myself sighing and frightened
or full of argument.
I don’t want to end up simply having visited this world.”
- Mary Oliver, from “When Death Comes” (via Rachel Mennies)