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Tears in the Fence 66

Tears in the Fence 66

Tears in the Fence 66 is now available from https://tearsinthefence.com/pay-it-forward and features poetry, prose poetry, fiction and flash fiction from Rachael Clyne, Camilla Nelson, Steve Spence, Isobel Armstrong, Anna Reckin, Jeremy Reed, Greg Bright, Adam Fieled, Maurice Scully, Zainab Ismail, Michael Henry, Sarah Cave, Elżbieta Wójcik-Leese, Paul Kareem Tayyar, Jinny Fisher, Alison Frank, Bethany Rivers, Nick Totton, F.J. Williams, Vahni Capildeo in Conversation with Suzannah V. Evans, Mike Duggan, John Welch, Jill Eulalie Dawson, James Midgley, Richard Foreman, Andrew Henon, Cora Greenhill, Peter J. King, Jane Wheeler, Jonathan Chant, Martin Stannard, Kate Noakes, Jonathan Catherall, John Goodby, David Clarke, Ren Watson, Claire Polders, Flash Fiction 3rd Prize winner, Keith Walton, Flash Fiction 2nd Prize winner, Sheila Mannix, Flash Fiction 1st Prize winner.

The critical section features Ian Brinton’s editorial, Jennifer K Dick’s Of Tradition & Experiment XIII, Steve Spence on Poems for Jeremy Corbyn, Norman Jope on Austerity Measures: The New Greek Poetry, Andrew Duncan on Seditious Things, Nick Totton on J.H. Prynne & Non-Representational Poetry, Lesley Saunders on Jane Draycott, Geraldine Clarkson, Jeremy Hilton on Sharon Morris, Alfred Celestine, Ulrikka S. Gernes, Scott Thurston on Allen Fisher, Steve Spence on New Plymouth Poetry, Will Daunt on Amos Weisz, Oliver Dixon on James Byrne, Cora Greenhill on the Scottish Women’s Poetry Symposium, Suzannah V. Evans on Richard Price, Mandy Pannett on Trumbull Stickney, Morag Kiziewicz’s Electric Blue 2, Kat Peddie on The Sovereign Community, Notes On Contributors and David Caddy’s Afterword

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Balkan Poetry Today, 2017 edited by Tom Phillips (Red Hand Books)

Balkan Poetry Today, 2017 edited by Tom Phillips (Red Hand Books)

In his editorial comments at the opening of this first issue of a new magazine, Balkan Poetry Today, Tom Phillips stakes out his purpose with clarity and determination:

Balkan Poetry Today is not designed to be a comprehensive survey. Nor is it a ‘greatest hits’ package. Not every country in SE Europe, not every language spoken there is represented in this issue (although many are) and readers already familiar with those few poets from the region who have been translated into English may wonder at some of the more notable absences. This, though, is a magazine, not a representative anthology, and our policy has simply been to publish the best work which we have been sent or otherwise come across rather than to fulfil the more ambitious task of charting an entire region’s poetic output.”

This is the beginning of an adventure and it carries with it the momentum of a serious journey. That setting of keel to breakers reminds me a little of J.H. Prynne’s ‘Tips on Translating Poems (Into or Out of English)’ which he wrote in Cambridge a little over ten years ago. The last of the 24 tips pointed to the importance of recognising that no translation work is ever fully completed since there “can never be a best or a right solution”. He reminded his readers that the best kind of poetical translation of a poem is another poem, “without any didactic extras” so that the reader “will be rewarded by enjoyment of a good poem which gives a strong experience of its foreign original”. Prynne concluded that this was the aim of all poetical translation and that it allowed the efforts of the translator “to bring very real benefit in understanding between cultures”.
This last point is one which was highlighted by Ana Martinoska in her introduction to the 2011 Arc publication of an anthology of Six Macedonian Poets in which she commented that “there are no nations or literatures that are small, insignificant or culturally less important than others” and that every culture and genre “should be presented to a broader audience without hesitation or fear of marginalisation”. Prynne’s last comment in his tips was “Translation is noble work!” and Martinoska referred to the translation of poetry as being “one of the best forms of cultural representation, as mediation among languages and nations, cross-cultural and inter-cultural communication bringing the world closer together, both in time and space”.
With this last statement in mind it is refreshing and heartening to read Tom Phillips’s words:

“It is, of course, conventional for any publication with the term ‘Balkan’ in the title to attempt a definition of the region. BPT has adopted a rather loose one with blurry edges – and one which includes the various and not inconsiderable Balkan diasporas. We are, in fact, pretty much leaving it to the poets themselves to decide whether they identify themselves as Balkan or not and to define where the cultural, geographical and linguistic boundaries lie. In practice this means that in this issue you’ll find work by a Romanian poet who writes in Czech, a Bulgarian who lives in Slovakia and a Croatian who writes multilingual poems in Croatian, French and English. In future issues we hope to publish work in transnational languages like Roma and Vlach. We use the word ‘Balkan’ in the broadest possible sense and with no intention of suggesting that ‘Balkan poetry’ exists as a single, homogenous entity.”

This first issue of an exhilarating new journal is sheer delight and one of the first poems that drew my attention immediately was ‘Private lessons in May’ by Aksinia Mihaylova (translated by Roumiana Tiholova):

“I’m trying to teach you the Cyrillic alphabet of scents:
that the geranium on the balcony across the street
is more than a mere geranium,
that the linden tree in June
is more than a mere tree,
but we aren’t making progress fast enough.
Your thumb is following the candle shadow
that the wind is making tremble on the open page,
as if drafting mobile borders
between you and me,
as if to protect you,
as if you are that boy,
who once lost his watercolours
on his way home from school,
and who’s still painting
the lost sky of his childhood and the hills
in the same colour.”

In 1923 William Carlos Williams had been convinced that “so much depends / upon // a red wheel / barrow // glazed with rain / water // beside the white /
chickens”. Wallace Stevens was to refer to those words as a “mobile-like arrangement” and Hugh Kenner suggested that they dangled in equidependency, “attracting the attention, isolating it, so that the sentence in which they are arrayed comes to seem like a suspension system.” The delicate movement in Mihaylova’s poem traces the act of translation itself, the spaces between one mind and another in a world of “mobile borders”.

Balkan Poetry Today is available in a limited edition print version via the Red Hand Books website: http://www.redhandbooks.co.uk/ and an e-book version will be available soon.

In a world of narrowing confines this new journal is refreshing: it opens doors on each page.

Ian Brinton 30th July 2017

Raceme

Raceme

This new Bristol-based magazine is edited by Matthew Barton and Jeremy Mulford and is published by Loxwood Stoneleigh, an imprint of Falling Wall Press. The first issue appeared in May last year and the Winter issue for this year, number 5, has just come into view. For those whose botanical knowledge is not quite up to the mark a quick glance at the Shorter Oxford is helpful:

From the Latin for a cluster of grapes ‘Raceme is a simple inflorescence in which the flowers are arranged on short, nearly equal, pedicels, at equal distances on an elongated axis’.

The editorial at the front of the first issue presented an attractive engagement with the way writing can prompt responses and it boded well for the future of this attractively produced magazine. As Barton and Mulford put that first issue together there was clearly an intention that the magazine could make space for ‘strings or sequences of poems with contextual thread or preface from the authors’. What they also discovered was that ‘connections began to sprout between pieces by diverse writers, a crackle of igniting responses’. The issue included poems by Graham Hartill (whose selection from Slipping the Leash appeared in my blog from earlier this month) and Philip Gross. It also contained tributes to Anne Cluysenaar alongside some of her poems and it is worth recalling the comments that poet made about the art of translation in her contribution to the book on British Poetry Since 1960 by Michael Schmidt and Grevel Lindop:

‘Translation is indeed a symbol of the basic activities of sympathy and metamorphosis involved in creative writing.’

As if in response to those words written over forty years ago Tom Phillips offered us in issue number 3 ‘Bulgaria Revisited’:

‘Not so many years ago, two young writers in Sofia, friends from school, launched an online project. Letters of Flesh was arguably one of the first signs that a new generation of writers was emerging in Bulgaria, a generation born after the end of the communism in 1989 and savvy to the potential of the internet and a generation which was almost certainly going to ruffle the feathers of the country’s literary establishment.’

The two writers, Georgi Belorechki and Ilyan Lyubomirov, had collaborated with Tom Phillips in translations of their own work represented in that issue. Belorechki had translated his own short poem in which the wall between the self and the other dissolves in a manner I have become used to in reading Philippe Jaccottet:

‘When you find me
in the dark,
don’t go out looking
for light –
I swallowed it.’

Phillips’s poetry has a particular timbre and when I reviewed his Unknown Translations in October this year I recall being struck by his reference to the way he started writing in Bulgarian as the new language prompted ‘unexpected connections in my mind’. There was in that fine collection a clear sense of life beyond the parochial and it is surely no coincidence that he should have found space for his work in this adventurous new magazine.

The editorial to that issue number 3 also offered a clear sign for the promising future:

‘Wherever we live we place our steps mostly unwittingly on the back of the past, but touching into it is a fascinating undertaking and one perhaps very close to the delvings of poetry, reconnecting with the undertow – all the more powerful because invisible – of a reality that exists for us only if we recreate it in the imagination.’

Other work to look out for in that issue included poems by Peter Robinson, David Cooke and David Punter . It also contained stunningly fine engravings by Trevor Haddrell, a retired teacher of Art who spent many years at Ashton Park School on the south side of the city.

Other magazines based in Bristol have included both The Resuscitator and The Present Tense. The former, co-edited by John James, started in 1963 and contained poetry by George Oppen, Charles Tomlinson, Roy Fisher and Peter Armstrong before it moved its headquarters to Cambridge for the second series. The latter was edited by Michael Abbott and contained work by Tomlinson, Anthony Rudolf, John Greening and Glen Cavaliero. All of this is far removed from the parochial sense of self-satisfaction gloried in by inhabitants of what Hugh Kenner was to call ‘The Sinking Island’ (a title by the way that he took from a letter written to him by Tomlinson!).

Issue number 5 of Raceme has just appeared containing amongst many other delights Peter Robinson’s translation of Georgio Bassani. Details of how to subscribe can be found on the Raceme website: http://www.racemepoetry.com and contact for subscription can be made via fallingwall76@gmail.com

Ian Brinton 30th November 2016

Disappearing Curtains Edited by Paul Buck

Disappearing Curtains Edited by Paul Buck

In that indispensable volume about British Poetry Magazines 1914-2000 edited by David Miller and Richard Price the entry for Chapter D, 129, ‘Curtains’ , gives clear background details concerning Paul Buck’s innovative and exciting publication which was to cast its brightness over the 1970s scene: ‘Most issues are unnumbered and have alternative titles based on the Curtains theme’.

The most recent copy which was presented to me by the editor, Paul Buck, at the Free Verse Poetry Fair a few weeks ago is titled ‘Disappearing Curtains’ and it has a sense of summing up. The editorial account of what it means to start up a new literary magazine is essential reading for anyone wishing to set out on the worthwhile venture:

‘A magazine serves more than one purpose. If I am to be the editor it needs to be a personal document, an exploration of my interests. As I am a writer then being an editor revolves around the notion of editing as part of the research for my writing. However, I do see it as a wider project, that is, the magazine as a communal…a community work.’

The BPM account stressed how the series was ‘especially strong in translation of contemporary French literature’ and a steady glance through French Curtains (1973), Curtains, le prochain step (1976) and bal:le:d Curtains (1978) most certainly confirms this as one reads Rosemarie Waldrop’s version of Jabès, Glendale George’s Giroux or Paul Auster’s Georges Bataille accompanied by striking illustrations from Jeff Nuttall. However, that brief description falls far short of giving true recognition to the astonishing range and expertise reflected in this series of magazines.
Between 1971 and 1978 Paul Buck edited at least eleven issues of the magazine and published work by Roy Fisher, Larry Eigner, Anthony Barnett, Kris Hemensley, Allen Fisher, Barry MacSweeney, David Chaloner, Michael Haslam, Mark Hyatt, Peter Riley, John Riley, Jeremy Hilton, John Hall, Cid Corman, Eric Mottram, John Freeman, Veronica Forrest-Thomson, Gael Turnbull… and the list goes on. One of the delights for me was coming across the work of Paul Selby, the founder of Sweet Dawn Publishing, about whom I have written in Infinite Riches, a History of Dulwich College Poets since the 1950s. In Safety Curtain (1972) there are eighteen pages of Selby’s work before we read both Carlyle Reedy and Larry Eigner. The last contribution in that issue of Curtains is a review by Kris Hemensley of Joanne Kyger’s 1970 Black Sparrow Press collection Places To Go:

‘These poems are what one might have expected to come from Denise Levertov in the light of her statements of intent of a decade & more ago – and whilst this is no criticism whatsoever of Levertov’s prosaic mood at present – it is exceedingly fortunate in these generally sparse & even trite times that Joanne Kyger can offer the rich & the fantastic.’

As if listening carefully to his reviewer of years ago Paul Buck’s final curtain contains work by Francesca Lisette and Holly Pester as well as his own ‘Notes In & Out of the Disappearing Mist’.

Ian Brinton 11th October 2016

Tears in the Fence 64

Tears in the Fence 64

Tears in the Fence 64 edited by David Caddy is now available from https://tearsinthefence.com/pay-it-forward and features poetry, fiction, prose poetry and translations from Jeremy Reed, Jim Burns, John Welch, John Freeman, Sally Dutton, Chris Hall, Michael Henry, Beth Davyson, Kinga Tóth, Paul Kareem Tayyar, D. I., Lydia Unsworth, David Pollard, Mike Duggan, Jeff Hilson, Sheila Mannix, I.S. Rowley, Richard Foreman, Jay Ramsay, Alison Winch, Andrew Taylor, Alan Baker, Sophie Herxheimer, L. Kiew, Ric Hool, S.J. Litherland, Rachael Clyne, Andrew Shelley, Tom Cowin, Morag Kiziewicz, Matt Bryden, Jessica Mookherjee, John Phillips, Ian Brinton & Michael Grant trans. Mallarmé, Terence J. Dooley trans. Mario Martin Giljó, Greg Bachar, Jennifer K. Dick, Matthew Carbery, Mark Goodwin, Aidan Semmens, Peter Dent, Sarah Cave, Julie Irigaray and Maria Isokova Bennett.
The critical section features John Freeman on Jim Burns: Poet as Witness, Andrew Henon on Timeless Man: Sven Berlin, Mary Woodward on Rosemary Tonks & Veronica Forrest-Thomson, Jeremy Reed on John Wieners, Norman Jope on Chris McCabe, Marsha de la O in conversation with John Brantingham, Neil Leadbeater on Jeremy Hilton, Nancy Gaffield on Geraldine Monk, Lesley Saunders on Alice Miller, Belinda Cooke on Carole Satyamurti, Steve Spence on Dear World and Everyone in it David Caddy on Andrew Lees’ Mentored by a Madman, Nigel Wood & Alan Halsey, Duncan Mackay on E.E. Cummings
, Notes on Contributors, and Ian Brinton’s Afterword.
The front cover is a black & white detail of a Sven Berlin watercolour (1982, private collection) and the magazine is designed by Westrow Cooper.

Long Poem Magazine Issue 15, ed. Lucy Hamilton & Linda Black Sure Hope 1, ed. Joseph Persad

Long Poem Magazine Issue 15,  ed. Lucy Hamilton & Linda Black  Sure Hope 1,  ed. Joseph Persad

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 troposphereeditions@gmail.com

Ian Brinton 23rd May 2016

Tears in the Fence 63

Tears in the Fence 63

Tears in the Fence 63 is now available from https://tearsinthefence.com/pay-it-forward and features poetry, fiction, non-fiction and translations from Peter Larkin, Laurie Duggan, Geraldine Clarkson, Kathrine Sowerby, Mélisande Fitzsimons, Rethabile Masilo, Sally Dutton, Hugo von Hofmannsthal translated by William Ruleman, Cristina Navazo-Eguía Newton, William Ruleman, Nathan Thompson, Richard Foreman, Melinda Lovell, Charles Wilkinson, Caroline Maldonado, Colin Sutherill, Colin Winborn, Jackie Felleague, Basil King, Eilidh Thomas, Paul Rossiter, Alda Merini translated by Chiara Frenquelluci & Gwendolyn Jensen, Michael Ayers, Helen Moore, Rachael Clyne, Elizabeth Stott, Caitlin Gillespie, Alice Wooledge Salmon, D.N. Simmers, David Ball, Cherry Smyth, John Freeman, Linda Russo, John Brantingham, Roy Patience, Denni Turp, Lesley Burt, Natasha Douglas, Sarah Cave, Valerie Bridge and Steve Spence.

The critical section features Frances Spurrier on Eva Gore-Booth, Dorothy Lehane on Sophie Mayer, Mandy Pannett on Out Of Everywhere 2, Ben Hickman on Tim Allen, Ric Hool on Chris Torrance’s Frinite, Fiona Owen on Jeremy Hooker, Seán Street, Oliver Dixon on English Modernism, Joseph Persad on Maurice Scully, Mark Weiss, Ian Seed on Jeremy Over’s prose poems, Kat Peddie on Marianne Morris, Kelvin Corcoran interviewing Peter Riley on Due North, Belinda Cooke on Antonia Pozzi trans. Peter Robinson, Paul Matthews on Fiona Owen, Mandy Pannett on Pansy Maurer-Alvarez, David Caddy on The New Concrete, Anthony Barnett – Antonym: César Vallejo, Notes On Contributors and Ian Brinton’s Afterword.

Copies are £10. UK Subscriptions £25 for three issues or £40 for six issues.

9 April 2016

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