In The Pavilion Hotel, 37 Leinster Gardens, London W2, Ken Edwards gave an interview on 15th February 1995 in which he talked about the world of poetry and the world of poetry magazines. Reality Studios had a ten-year lifespan and Edwards made it clear that he was interested in questioning the ‘basis of belief and acceptance of what writing is’.
‘So that is what I was trying to do in the magazine’.
Ken Edwards also made it clear that he did not want the magazine ‘to have a dogmatic line on anything, because I do not feel I have one…The thing is when you edit a magazine, people do come to you with preconceived notions of what you are doing, like if you publish soandso’s poetry, therefore you support this line and therefore soandso must be an enemy. Unfortunately, poetry is riddled with this kind of factionalising.’ One year later Iain Sinclair’s anthology Conductors of Chaos appeared and his introduction emphasised those points in vivid language as he suggested that poets ‘are a quarrelsome bunch; dealing with them is like dipping an arm into a sack of vipers’. In terms of the publication of an anthology (and the same could be said of a magazine) they demand ‘Who else is involved’.
This month two magazines have appeared and in their different ways they are exemplary in showing how the best can be achieved. Long Poem Magazine has been running for a few years now and it is produced with care and style. The editors, both poets in their own rights, were able to announce in the opening pages of this recently published issue that LPM has been awarded ‘an Arts Council grant to fund issues 15 and 16’. They also presented a clear sense of their own purposes as editors:
‘Since LPM’s inception, we have striven to publish an equal proportion of women to men, and to foster a sense of literary community and engagement across languages, cultures and countries—publishing translations from nine languages to date, with a tenth in the pipeline.’ The range of poetry is eclectic as work by the Russian of Anatoly Movshevich (translated by Peter Daniels) brushes shoulders with that of Philippe Jaccottet (translated by Ian Brinton) and the ‘Extracts from Uruk’s Anthem’ by Adnan al-Sayegh, translated by Jenny Lewis, are simply outstanding. I am reminded here of the published letter of Jeremy Prynne to Andrew George concerning the latter’s Penguin translation of The Epic of Gilgamesh in which he congratulated the translator on his ability to present ‘with great clarity and force… a poem of tremendous nobility and passion, evidently linked by many threads to the social structures of governance and adventure among men who still felt themselves close to the world of an elaborate pantheon of gods and supernatural agencies, but also displaying deep powers of psychological insight and human character and interaction’. To listen to Adnan al-Sayegh reading from his contribution to LPM at the launch was to be stilled for a moment, to be caught in a web of interwoven histories.
Submissions can be sent via http://www.longpoemmagazine.org.uk
Sure Hope 1 is a delight to read and its editorial note looks forward in the very best sense. As its title suggests it is here to stay for a while.
‘Sure Hope is a magazine of the arts, fairly convinced that writing, radically considered, remains an optimized framework for investigating the continued possibilities of hope, invisibility, equality, expansion, space, history, love…..It is hoped readers will enjoy what is presented, observing that these contents look out to broad horizons of conversation, life, and argument…’.
The range of contributors is impressive as Ian Patterson and Anthony Barnett rub shoulders with Justin Katko and Sophie Seita; Lisa Jeschke & Lucy Beynon appear along with Ian Heames and Luke Roberts. From the migrant camps of Calais we can read Harry Soolia as he chalks up the ‘intelligent and deliberate manipulations of opinions / tintin’s tears dripping from the feed’. This new magazine is worth supporting and submissions can be sent to email@example.com
Ian Brinton 23rd May 2016