Awards for "I came in late but my poem killed it" go to Harry Wilson, Aisling Fahey and Safi Strand. Alastair Shuttleworth: your poem rules.
Props to Christopher Hyunh and his colleagues at the Courtauld Gallery for hosting 40+ young poets writing in response to art works...
Props to @MamoyoBornFree and @BlkGirlOnABike for holding their own and repping as honorary Barbican Poets.
Totally proud of the young poets I brought together from my residencies at Corfe Hills, Reading Blue Coats and the Barbican today.
““I had gone through and thought about the number of books you could conceivably read in a year, for example. And then if you extrapolate it out over your lifetime, how many can you reasonably read? And it got me thinking about how vast the world of books is, and how small what you will ever take in actually is. And it becomes a sort of overwhelming thought when you realize that no matter how hard you try, no matter how smart you are, no matter how much you love to read – as I put it in the piece, statistically speaking, you’re going to die having missed almost everything.””
You Can’t Read Everything - Linda Holmes, via The Rumpus
It’s an epiphany that’s presented itself to me a few times in the past, something I’ve promptly n
blanked from my mind as being way too depressing to carry around in the area of my brain that’s dedicated to conscious thought…
“…this book contains an array of forms; I say that these shifts are integral to the book’s enterprise. One of my challenges, therefore, was to pace the pattern changes in an energetic and intuitively sequenced way—as opposed to a diluted effect. Sort of like a musical improvisation. I didn’t write this book with a sense of its overall architecture: it isn’t a project book. Historically, poets haven’t always composed their books with a “novelistic” eye, and there is no right way to sequence a book of poetry, albeit conventional ways. Many readers don’t even read poetry books in the sequence they’re ordered—a phenomenon that should indicate something about the role of beginnings, middles, and ends in poetry. In any case, I also needed to pace the poems’ content and resisted shaping a narrative arc. However, as these poems do contain narrative details, I had to decide how to let it unfold. For instance, the book’s first poem is an elegy for a lost sibling, an event that is this book’s initiation on the levels of both content and form. It’s the book’s first note and loss sounds again in the book’s final couplet which begins, “this is the robe of loss…””
The Rumpus Interview With Shira Dentz - The Rumpus.net
Sunday evening, thinking on the collection…
"I take it because I am in love with the touch of black on glass..." http://bit.ly/j6aStd
"I’m betting one of the X’s / on this map has buried treasure / but my shovel is tired of me // feeding it to th... http://bit.ly/kRQfXa
In other news, if you're a young poet and ever wanted to attend one of my workshops, I've got three spaces for something on Monday. Holler.
Still reeling from the past few weeks of intense activity. It'll take me a few days to get back to business as usual...
“One reason we struggle with insecurity: we’re comparing our behind the scenes to everyone else’s highlight reel.”
Steven Furtick (via jesssica)
Dear Tumblr dashboard: sometimes you’re a terrible time-sink, and sometimes you know exactly what I need to hear…
“Creating meaning is the hardest part of design; you’re not going to get it right the first time. But you can iterate it. Not just once, but many times. And the sooner you’re doing iterations in the actual materials of the finished product, the better the design will be. Because you can’t perfectly premeditate meaningful experiences. You have to experiment and see what happens.”
Experiment, iterate, fail. Design! - Thinking aloud
Reason for the recent quiet: I’m obsessing over iterations of my manuscript. Move this poem here, move that poem there. Is that poem doing all the work it’s supposed to be doing? Is there a poem missing? And so, the iteration continues. Contents page, version 5468 and counting. Who was it that said a day’s worth of writing could consist entirely of removing a word in the morning and adding it back in the afternoon (or was it a comma)? Whoever you were, I hear you, o kindred soul.
“When you inherit a language, it does not mean you are totally in it or you are passively programmed by it. To inherit means to be able to, of course, appropriate this language, to transform it, to select something. Heritage is not something you are given as a whole. It is something that calls for interpretations, selections, reactions, response and responsibility. When you take your responsibility as an heir, you are not simply subjected to the heritage, you are not called to simply conserve or keep this heritage as it is, intact. You have to make it live and survive, and that is a process - a selective and interpretive process.”
Jacques Derrida. (via tobia)
Pushing this one into my “Ritual and Tradition” file…
"A tongue strikes the inside of a metal mouth: / the sky splits / into skies" —Suzanne Hancock, Cast From Bells.
“You have to be two things at once: extremely arrogant, enough to think you’re going to sit down and say something of value to the world; and extremely humble and embarrassed by that very thing, so that you realise that as you write you’re not writing yourself, you’re not writing your own story. In fact, as you write a poem, it’s more and more about relinquishing yourself to this other thing. You have to have the capability to be in those extremes at the same time.”
- David Baker
Draining out an evening's worth of writing on the Southbank. Greybeard rasta hurtles down the street below on skates. Wheel and come again!
5 reasons why e-books aren't there yet (@llapen agree, yes?) - Wired: http://bit.ly/mUstWx
““Oh - no one reads poetry, just a few dedicated souls” - I’m tired of that! Poetry is important. We’ve got to figure out a way to make it happen. And the spoken word scene is part of that. And the slam scene is connected of course to spoken word, but that’s part of it. But I mean beyond that, back to the page, and to the books and to the world of contemplation. I really want people to be with language - that’s the seat of human consciousness: language. We can’t act like that doesn’t matter.”
- Tim Seibles from a 2006 episode of the Prosody radio show/podcast.
RT @flippedeye: Blurb of the month award goes to @jsamlarose - you'll see it soon on Ekere Tallie's forthcoming 'Karma's Footsteps' #edi ...