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Category Archives: Literary Magazine

Tears in the Fence 61

Tears in the Fence 61

Tears in the Fence 61, designed by Westrow Cooper, with a stunning winter woodland cover, is now available from https://tearsinthefence.com/pay-it-forward It features poetry, fiction, art criticism and drama from Mike Duggan, Robert Vas Dias, Ian Seed, Jennifer Compton, Anne Gorrick, Kelvin Corcoran, Charles Wilkinson, Sheila Hamilton, Chris Daly, Gerald Locklin, Mark Goodwin, Kimberly Campanello, David Pollard, James Roome, Tim Allen, Matt Bryden, Sheila Mannix, Cora Greenhill, Jackie Sullivan, Colin Sutherill, Yvonne Reddick, Michael Henry, Andrew Shelley, S.J. Litherland, Elizabeth Cook, Cristina Navazo-Eguía Newton, John Bloomberg Rissman & Anne Gorrick, Nigel Jarrett, David Goldstein, Reuben Woolley, Kate Noakes, Rupert M. Loydell, Paul Sutton, Seàn Street, Louise Anne Buchler, David Clarke, David Andrew and Ziba Karbassi.

The critical section consists of David Caddy’s Editorial, Hannah Silva’s Make It Strange
, Anthony Barnett’s Two Childlike Antonyms
, Andrew Duncan on Kathleen Raine
, Steve Spence on Daniel Harris & Rupert M. Loydell
, Ric Hool on Tom Pickard
, John Muckle on James Wilson
, Elaine Randell on John Muckle
, David Caddy on David Miller
, Mandy Pannett on Jay Ramsay
, John Welch on Paul Rossiter
, Belinda Cooke on Yves Bonnefoy and Leonid Aronzon
, Fiona Owen on Victoria Field, Jay Ramsay on Anna Saunders
, Anthony Barnett’s Antonym: Literary Tumbles
, Sheila Hamilton on Melinda Lovell
, Notes On Contributors
 and Ian Brinton’s Afterword.

David Caddy 12th March 2015

SNOW 3 Spring 2015, edited by Anthony Barnett & Ian Brinton

SNOW 3 Spring 2015, edited by Anthony Barnett & Ian Brinton

SNOW 3 is a cornucopia of international delights and quite unlike any other UK literary review. There are translations, musical scores, drawings, writing paintings, original poetry and prose, essays, extracts and stills from Rei Hayama’s film, The Focus, based upon a Nathaniel Hawthorne story, extracts from the correspondence between the Dutch writer, Cees Nooteboom, and Anthony Barnett, sketches by Harold Lehman, and a photographic essay on the artists and musicians at the Grand Terrace Cafe, Chicago, in early 1941.

The poetry translations include Simon Smith’s Catallus, Emilia Telese’s Erika Dagnino, and Barry Schwabsky’s Pierre Reverdy. Anthony Barnett translates the poetry and prose of Gunnar Ekelöf. Christina Chalmers and Concetta Scozzaro translate Andrea Zanzotto’s essay ‘Infancies, Poetries, Nursery’, Ian Brinton translates Philippe Jaccottet on Francis Ponge, Jørn H. Sværen translates his own prose from the Norwegian. Konrad Nowakowski writes on Busoni’s Letter to Verdi and Bridget Penney writes about the literary and artistic connections of Abney Park Cemetery, north London. The original poetry, less than usual, comes from Caroline Clark, Dorothy Lehane, Yamuph Piklé, Alexandra Sashe and John Seed.

This extraordinary mix is beautifully designed and presented by Allardyce, Barnett, Publishers. 14 Mount Street, Lewes, East Sussex BN7 1HL.

http://www.abar.net

David Caddy 3rd March 2015

Beat Scene 75 Winter 2014 Edited by Kevin Ring

Beat Scene 75 Winter 2014 Edited by Kevin Ring

This issue features along essay by poet, Ron Loewinsohn on the North Beach, San Francisco scene in the mid-Fifties before City Lights bookshop, Allen Ginsberg became famous and made the area a mecca for beats and hippies. Loewinsohn was encouraged to write and submit poems to LeRoi Jones, later Amiri Baraka’s Yugen magazine, by Ginsberg. This eventually led to Baraka publishing his first book, with an introduction by Ginsberg. The memoir centres on the April 1956 Berkeley Community Theater reading hosted by Kenneth Rexroth and featuring Ginsberg, Philip Whalen, Gary Snyder and Michael McClure, and how it transformed poetry reading events in the area from the literary equivalent of a polite piano recital to an informal gathering with the distinction between poets and audience blurred. On stage the poets commented on each other’s poems as they were being read and cheered good lines, along with the audience. It was here that Ginsberg gave the first full reading of Howl:

… pacing himself so that the intensity of his delivery built to three separate climaxes at the ends of the poem’s three sections. It was an extraordinary performance. It was far more than a recitation to a passive audience. This interaction between the poet and his audience affirmed the community that had been formed by the occasion: the poet articulated the community’s values and its ethos, while the community then affirmed the poet as its spokesman.’

Jerry Cimino writes about the re-discovery of Neal Cassady’s ‘Joan Anderson letter’, which inspired Jack Kerouac’s writing style. Eric Shoaf is interviewed about his career as a bibliographer and collector of William Burroughs literary works. Dan Poljak interviews Pierre Delattre, who was part of the North Beach scene in the late 50 and 60s about his memories, in particular of the arrival and influence of the Black Mountain College alumni and also Colin Wilson’s The Outsider.

Jim Burns’s essay on Discovery magazine, the paperback pocket-book size journal, edited by Vance Bourjaily, details its relevance to the Greenwich Village scene. Kevin Ring offers his thoughts on Tom Waits reading of Charles Bukowski’s Nirvana poem, on a film set in Forest Hill, London, and Paul Lyons essay on John Wieners quotes heavily from The Journal of John Wieners is to be called 707 Scott Street for Billie Holiday 1959 (Sun & Moon Press, 1996) and delineates its background.

The joy of Beat Scene is always in the discovery of forgotten writers, poets and magazines and its extensive review section. Here David Holzer writes about Terry Taylor’s Baron’s Court, All Change (1961), an English beat novel, republished by Five Leaves Press in 2012 in its New London Editions. The novel has received a strong review in Modern Review describing it as ‘an essential piece of literature that, as Kerouac’s On The Road or Miller’s Tropic of Cancer, sums up not only a generation or movement, but a sentiment of restless youth and rootless verve that lives on in today’s society as much as in any other’.

As ever, there is much to enjoy in Beat Scene. Subscriptions are 4 for £26. Email: kev@beatscene.freeserve.co.uk

David Caddy 28th January 2015

Long Poem Magazine 12 edited by Lucy Hamilton & Linda Black

Long Poem Magazine 12 edited by Lucy Hamilton & Linda Black

http://longpoemmagazine.org.uk

Issue Twelve is as eclectic as ever and features long poems by Salah Niazi, translated by the author from the Iraqi with David Andrew, Patricia McCarthy, Martyn Crucefix’s versions of parts of the ‘Daodejing’, Richard Berengarten, Jeri Onitskansky, John Greening, Norman Jope, Tamar Yoseloff, Ben Rogers, Varlam Shalamov, translated from the Russian by Robert Chandler, Alexandra Sashe, David Andrew, Alistair Noon’s Pushkin inspired travel narrative, and W.D. Jackson. Linda Black’s editorial offers insights into the current reading habits and recommendations of several contributors. Alexandra Sashe ‘neither wrote nor read poetry’ until she discovered Paul Celan: ‘The predominance of Language, which writes itself, which dictates itself … this same Language lived by the writer, becomes a new entity, something other: “essentialized”, and, faithful to its centripetal life, increasingly personal …’.

Sophie Herxheimer’s ‘Inklisch Rekortdinks’ series of dramatic monologues impressed sonically and thematically. Based on the experience of her father’s family who emigrated to London in 1938 and written in the Lenkvitch, a sort of German Jewish – English hybrid accent, of her paternal grandmother, they probe identity and immigrant experience from alienation through war and assimilation to friendship and domesticity. The sumptuous language and narrative angles make the world of Herxheimer’s poems sparkle.

Vis efferi Snip off Dill I fezzer
on my feinly slizzered Kewkumpers
I re-azzempel Leipzig
Birch Treez, Promenaats.

Vis efferi chop off peelt Eppel
es it sutds into my Disch
for Pie – zerburban Etchvair
ordinerry: I kerry on.

Timothy Adés’ ‘The Excellent Wessex Event’ uses the Oulipo univocal lipogram omitting a, i, o and u to produce a narrative poem in rhyming couplets drawing upon the film version of Hardy’s Far From The Madding Crowd. This one hundred line sequence comes with a set of multi-language footnotes all with the same impediment.
Lucy Sheerman clearly articulates the relevance of Lyn Hejinian’s My Life as ‘a touchstone for experimentation with the representation of thought in the field of the long poem’ in her essay feature. Sheerman quotes Juliana Spahr on Hejinian’s achievement:

Hejinian works rigorously against a capitalsed ‘Self’ or
any stability of the self. Her subjectivity, more empty
than full, concentrates on the ‘separate fragment
scrutiny.’ It is defined by fluctuation, by the
move from ‘I wanted to be’ to the lack of fixity of ‘I am a
shard.’ Or, as she writes citing the title, ‘My life is as
permeable constructedness’ (93). One of the crucial
distinctions between the multiple subjectivity of current
autobiographical criticism and Hejinian’s fluctuating
multiple subjectivity is the absence of stability in
Hejinian’s subject. Instead of offering full multiple
identities, My Life is a process-centred work that
calls attention to the methods by which the
autobiographical subject is constructed by both author and
reader. Hejinian’s constant resignification of subjectivity
confronts head-on the constructed reality of
autobiography and the reader’s seduction by this
construction.

Sheerman concludes with a number of challenging critical comments, which makes the essay immensely valuable and more than a informed introduction.

Long Poem Magazine is a veritable feast of the strange and familiar taking the reader on a wonderful journey.

David Caddy 25th November

Zone 2 edited by Kat Peddie & Eleanor Perry

Zone 2 edited by Kat Peddie & Eleanor Perry

http://www.zonepoetrymagazine.com

The second issue of Zone magazine, the poetry collective of writers and critics from Canterbury, edited by Kat Peddie and Eleanor Perry, is a cornucopia of poetic delights richly illustrating the diversity of contemporary poetry.

The house style of presentation of this A4 publication mostly eschews uniformity in favour of a random mixture of fonts and point sizes. This works effectively with the diverse and colourful text art to produce a visually exciting journal with a sense of the chaotic. The position of the author’s name in large point at the top of each page tends to undermine the approach through its loudness and uniformity. The poem should matter far more than the poet’s name.

There are many fine contributions from Sarah Kelly’s text sculpture, Sean Bonney’s short essay on Amiri Baraka, via six Petrarch sonnets by Peter Hughes, Ian Brinton’s translation of Francis Ponge’s ‘Snail’s to Iain Britton, Stephen Emmerson, S.J. Fowler, Mendoza, Dorothy Lehane, Duncan Mackay, R. T. A. Parker, Nat Raha, James Russell, Marcus Slease, Dollie Stephan, and Robert Vas Dias.

Amongst the work that caught my eye were sean burn’s ‘spell / check © sean burn 2013 c.e.’ simple, playful approach and Laurie Duggan’s ‘from Pensioners Specials’ with its quirky, aphoristic humour:

The Art of Poetry

don’t write when you have ‘something to say’
write when you have nothing to say

*

smaller than the syllable
the Silliman

*

Universal Toilet

This train has,
says the ‘onboard manager’
a ‘universal toilet’

Rae Armantrout’s extraordinarily condensed poems employ multiple voices and divisions to explore contested spaces. Here her four poems seemingly skirt the boundaries of plausible meaning and imply connections between each stanza, which are not entirely evident on first reading. They invite reading of the relation of part to whole, stanza to stanza. In this way, more possible reference and meaning comes into play. They insist upon both slow and wide reading, and force the reader into wider focus.

Run Time

Hidden redundancy
equals logical depth.

*

up next,

the pumpkin carving contest
under the sea

*

You talk to yourself
as if somebody cared.

Clearly an event of some kind, as yet only implied in the title and first three stanzas, is in process. The third stanza perhaps holds more than its terseness. The narrative voice is in the act of ‘talking’ to herself ‘as if somebody cared’. When placed in the context of the preceding stanzas much more possible reference and meaning comes into play. Voices are running, possibly imploring, exhorting for this onwardness towards the second half of the poem and whatever may lie within its boundaries. We could be in the world of someone in a state of loss or deprivation, or in need of care. Key words, such as ‘hidden’ send the reader off in search. Certainly the range of possible meaning gradually begins to expand. The reader is taken on a journey and there is more than a hint of implied disjunction, loss and unrest, which serves to take the reader forward.

Such poems make Zone a joy to return to.

David Caddy 22nd November 2014

Beat Scene 74 edited by Kevin Ring

Beat Scene 74 edited by Kevin Ring

http://www.beatscence.net

This special issue features essays on a range of Beat writers and others visiting England, a significant January 1961 letter from Robert Creeley to Tom Raworth providing him with contact details for many Black Mountain and Beat poets as well as Gary Snyder in Japan and Louis Zukofsky in New York, an article by Iain Sinclair on meeting Olson at the Queen Elizabeth Hall and Allen Ginsberg and Panna Grady at Regent’s Park in July 1967. There is also an article on Tom Raworth and Allen Ginsberg, a series of articles on the English and Scottish publishers of the Beats and Black Mountain poets in the late Fifties and early Sixties, plus a long poem, ‘The Prince of Amsterdam’ by Heathcote Williams concerning the Albert Hall International Poetry Incarnation, which included Ginsberg, Ferlinghetti, Corso, Spike Hawkins, et al, of June 1965.

It was 1965 and a foretaste of the Summer of Love
When it was believed that love could stop war,
And at this wholly communion
Where a Bardic tap was unscrewed
And turned into a spiritual fire hydrant

Pauline Reeves contributes an extensive essay on Ginsberg in London in 1965, the background to the Albert Hall event, filmed by Peter Whitehead as Wholly Communion, and its immediate aftermath drawing upon contemporary documentation. Brian Dalton writes about The Dialectics of Liberation conference at the Roundhouse in July 1967, which similarly brought together American and English poets and thinkers. There is a notable reprint of a 1963 article by Jim Burns on Gary Snyder, entitled ‘His Own Man’, identifying Snyder’s commitment to ‘disaffiliation’ and ‘resisting the lies and violence of the governments and their irresponsible employees’ through ‘civil disobedience, pacifism, poetry, poverty – and violence, if it comes to a matter of clobbering some rampaging redneck or shoving a scab off the pier. Defending the right to smoke pot, eat peyote, be polygamous, or queer – and learning from the hip fellaheen peoples of Asia and Africa, attitudes and techniques banned by the Judaeo-Christian West.’ Burns clearly saw in 1963 that Snyder whilst being part of the San Francisco, Black Mountain and Beat scene, featured in Kerouac’s The Dharma Bums as Japhy Ryder, was quite distinct and independent.

Eric Jacobs writes about the background to Fulcrum, Goliard, Trigram and Ferry Press and their commitment to publishing the likes of Snyder, McClure, Olson, Creeley, Duncan, Dorn, Hirschman and Ginsberg. There is good use of a Creeley 15th November 1963 letter to Andrew Crozier showing the English poets that he was in contact with. The essay also draws upon Ian Brinton’s essay ‘Nearly Brassed Off: Andrew Crozier and the Ferry Press’ from Tears in the Fence 55 as well as Jim Burns’ Bohemians, Beats and Blues People (Penniless Press, 2013). Jim Burns has an essay on Gael Turnbull’s Migrant Press begun in Worcester in 1957 to introduce certain American writers that had interested him through Origin, Black Mountain Review and the Jargon books of Jonathan Williams. He also uncovers the work of Alex Neish, as editor of Jabberwock and Sidewalk magazines from Edinburgh in 1959 and 1960 publishing Burroughs, Creeley, Olson and Michael Rumaker alongside Edwin Morgan, Ian Hamilton Finlay and Ian Crichton Smith, alongside translations of Marguerite Duras, Michel Butor and Alain Robbe-Grillet. Sidewalk was advertised as a review with a policy of anti-parochialism, which would focus upon the social and literary problems of today and tomorrow, and was attacked by the popular press of Glasgow.

There is much more to this excellent issue. Subscriptions are £26 for 4 issues.

David Caddy 11th November 2014

Picture This: Tears in the Fence at 60

Picture This: Tears in the Fence at 60

60 editions of Tears in the Fence, plus the Larmer Tree special issue – and if you have any copies, we’d love to see them.

We want to gather as many photos of copies/collections of TITF as possible for display at the Festival (October 24-26th in Dorset UK. See tearsinthefence.com/festival).

Whether you have one copy, 20 copies or even the whole lot (!!), please take a photo and send it to us:

A. Picture them any way you want – snap them where they stand on your bookshelves; pile ‘em high on your desk; or make any arrangement you like – even put yourself in the photo (a TITF selfie!)

B. Send the photo to tearsinthefence@gmail.com, or post it on the TITF Facebook group page; or tweet it using the hashtag #titf60

Any information about yourself, e.g. the country you live in, thoughts on the magazine etc. will be entirely a bonus.

Now: get your phone and… SNAP!

Your participation really matters.

Privacy and permissions
The purpose of the ‘Picture This’ project is to create a display board full of photos at the Festival (as part, by the by, of demonstrating the reach of the magazine).

We would also like to use some in posts on Facebook and twitter, and some or all on the website, as part of the publicity drive for the Festival. If you would prefer that we do NOT use your photo and/or your name online, please let us know when you submit your photo.

Many thanks again for your participation

The TITF team

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