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Category Archives: Multilingual Poetry

Knitting drum machines for exiled tongues by Jasmina Bolfek-Radovani-Radovani (Tears in the Fence) book launch

Knitting drum machines for exiled tongues by Jasmina Bolfek-Radovani-Radovani (Tears in the Fence) book launch

We are delighted to announce that the book launch of Jasmina Bolfek-Radovani’s Knitting drum machines for exiled tongues will take place

at Morocco Bound bookshop, 1A Morocco Street, Bermondsey, London SE1

3HB, on Thursday, 23rd February, from 7.00 pm.

The event has now ended.

It is possible to buy a copy of the book as part of the entry fee and collect it at the event. Please feel free to share the event with friends.

David Caddy will introduce the event. Jasmina will be reading from the book with Bridget Knapper, and in conversation with Professor Debra Kelly. 

Simon Collings in review of the book in Tears in the Fence 77 writes:

Many of our memories are linked to words. When we move to a new country and adopt a new language our memories retain traces of the earlier tongue, our brains recalling events in a different vocabulary and with a different syntax and sound-pattern. This shift of memory-language can prompt moments of forgetting, a sense of loss.  

In her poem ‘Vol interrompu’ (interrupted flight) Jasmina Bolfek-Radovani, who is of mixed Algerian-French-Croatian heritage, writes of:

the breaking down
                of language
                            words, worlds
                            swirling in her mind


Vol interrompu’ is a poem about a childhood memory, a seabird seen one morning in Brussels from a school playground, the image inextricably linked to French sound-patterns. The words je (I) and jeux(games) echo each other when pronounced, an effect impossible to reproduce in English translation. Volé means stolen, the single/plural agreement a written though not a voiced distinction. Volé picks up sonically on vol in the title, and there is also a play in the poem on mouette (seagull) and muette (mute). The reactivation of the memory causes a momentary ‘anamnesia’, or ‘selective mutism’. The mind searches for the language, which is tied to the memory, the text ‘swirling’ across the page in an enactment of that process. Certain phrases in the poem are also echoed in Croatian. 

In addition to this sonic aspect of the work, Knitting drum machines for exiled tongues also has a strong visual dimension. Formal layout is intrinsic to our experience of Individual poems, as for example in the ‘swirling’ agglutination of words in ‘Vol interrompu’ quoted at the start of this review. The fragmenting text of the poem ‘Language loss’ is another example. Every poem in the book has a unique form, and alongside the poems there are photographs accompanied by brief fragments of text (the poet calls these ‘patterns’), and three graphic texts (called ‘tattoos’). These resemble street plans, psycho-geographic codifications of memories and places. 

David Caddy 19th February 2023

Tears in the Fence 77 is out!

Tears in the Fence 77 is out!

Tears in the Fence 77 is now available at and features poetry, prose poetry, translations, creative non-fiction and fiction by Lucy Ingrams, Jane Wheeler, Eliza O’Toole,  Steve Spence, Peter Larkin, David Miller, Beth Davyson, Benjamin Larner, Louise Buchler, Isobel Williams, Glenn Hubbard, Hanne Bramness translated by Anna Reckin, Daniela Esposito, Simon Collings, Poonam Jain, Giles Goodland, Michael Farrell, Richard Foreman, Cole Swenson, Lesley Burt, Jeremy Hilton, Greg Bright, Alexandra Corrin-Tachibana, John Freeman, Caroline Maldonado, Rosemarie Corlett, Robert Hamberger, Alicia Byrne Keane , Olivia Tuck, Penny Hope, Mary Leader, Christine Knight, Ann Pelletier-Topping, Jennie E. Owen, Natalie Crick, Sian Astor-Lewis, Laura Mullen, Gwen Sayers, Kevin Higgins and Graham Mort.

The critical section consists of the Editorial by David Caddy, Letters to the Editor by Andrew Duncan, Tim Allen, Jeremy Hilton and David Pollard, Peter Larkin on Rewilding the Expressive: a Poetic Strategy, Andrew Duncan on Peter Finch, David Pollard on Patricia McCarthy, Simon Collings on Jasmina Bolfek-Radovani,  Ben Philipps on Veronica Forrest-Thomson, Olivia Tuck on Linda Collins, Will Fleming on Maurice Scully, Louise Buchler on Caitlin Stobie, Mark Wilson on Sandeep Parmar, Simon Collings on Stephen Watts, Martin Stannard on Julia Rose Lewis & Nathan Hyland Walker, Barbara Bridger on Alexandra Corrin-Tachibana, Claire Booker on David Pollard, Gisele Parnall on Paul Eric Howlett, Louise Buchler on Rebecca May Johnson, Simon Jenner on Steve Spence and Andrew Martin, Andrew Duncan on Philip Pacey, Mandy Pannett on Seán Street, Morag Kiziewicz’s  Electric Blue 12 and Notes On Contributors. 

Tears in the Fence 76 is out!

Tears in the Fence 76 is out!

Tears in the Fence 76, 208 pp, is now available at and features poetry, prose poetry, multilingual poetry, fiction and flash fiction by David Annwn, Charles Wilkinson, Lydia Harris, Jane Robinson, Daragh Breen, L.Kiew, Valerie Bridge, Sarah Watkinson, Poonam Jain, Helen Scadding, Alan Baker, Paul Marshall, Peter Dent, Andrew Henon, Mohammad Razai, Jennie Byrne, Luke Emmett, Mark Goodwin, Eleanor Rees, Sophie Segura, Robin Walter, Jill Eulalie Dawson, Rachael Clyne, Wendy Clayton, Mike McNamara, Diana Powell, Simon Jenner, Rodney Wood, Janet Hancock, Hannah Linden, Elizabeth McClaire Roberts, Michael Henry, Alan Dent, Alexandra Corrin-Tachibana, Birgitta Bellême, Melanie Ann Vance, Mary Michaels, Huw Gwynn-Jones, Mike Duggan and John Kinsella, from Metaphysics.

The critical section consists of Joanna Nissel’s Editorial, Mark Prendergast in Conversation with Abigail Chabitnoy, Sam Warren-Miell on the British Right’s world of poetry, Robert Hampson on Nothing is being suppressed by Andrew Duncan, Barbara Bridger on Maria Stadnicka, Aidan Semmens on Jeremy Hilton, Barbara Bridger on Sarona Abuake,  Kathleen McPhilemy on Giles Goodland, Sarah Watkinson on Steve Ely, Alan Baker on Lila Matsumoto, Kathy Miles on John Freeman, Marcus Slease on Chrissy Williams, Carla Scarano on the Poetry of Ian Seed, Vicky Grut on Wendy Erskine, Olivia Tuck on Victoria Kennefick, Andrew Duncan on Khaled Hakim, Graham Harthill on Gerry Loose, Siân Thomas on Pnina Shinebourne, Mandy Pannett on Caroline Maldonado, Paul Matthews on Kay Syrad, Norman Jope on Paul Celan translated by Joan Boase-Beier, Kiran Bhat on Rishi Dastidar, Guy Russell on Derek Gromadzki, Rupert Loydell and Steve Waling in Correspondence, Morag Kiziewicz ‘s Electric Blue 11 and Notes On Contributors .

David Caddy 14th October 2022

Knitting Drum Machines For Exiled Tongues by Jasmina Bolfek-Radovani is out!

Knitting Drum Machines For Exiled Tongues by Jasmina Bolfek-Radovani is out!

Jasmina Bolfek-Radovani’s ground-breaking poetry collection Knitting drum machines for exiled
presents the reader with thirty-five multilingual poems in English, French and Croatian structurally interwoven with thirteen visual-textual fragments and three poems-tattoos or “tattooed” drawings through the narrative device of “enchâssement” (embedding). Using the universal languages of the heart / love / music / rhythm the author seamlessly transgresses borders and provides us with a poignant, evocative, and fully inclusive, immersive experience. The recurring tropes of falling, absence, and loss, and the evocation of a fourth “shadow language” signify the narrator’s displacement from ‘home’ and language, whilst at the same time questioning the identity discourses of nostalgia, belonging and exile. Here, the central image of the “knitting drum machines for exiled tongues” can be interpreted both as an innovative artistic practice allowing the revival of lost and / or exiled languages, and as an enabling device for the (re-)coding of multilingual language patterns in which “poetry of the mind breaks free”.

A QR code included in the book invites the reader to access additional content related to the Knitting drum machines for exiled tongues collection such as a glossary, visual, and audio sources.

The book is available to buy on the Tears in the Fence website through the Pay / Subscribe / Donate page (

“In Knitting Drum Machines for Exiled Tongues, ‘harmonies’ are ‘sounding out’ spectrums of sonic frequencies, attempting to connect self/others. Jasmina Bolfek-Radovani brilliantly raises the old sword of the bard battling both the silences within herself and which plague us all – the ‘mutisms’ at the ‘edges’, our own wilderness being contained. The poet stretches through the unhearable, unsayable, claims ‘je capte’ ‘kapetan bez broda’ – but then leaves us a blank void to be filled in. That space is the remarkable work waiting here for readers to respond to, to find our ‘futures possible’ where ‘optimism’ is that ‘impossibility of closed passage’ of which she writes so eloquently.”

Jennifer K. Dick, author of, most recently, That Which I Touch Has No Name, 2022

30th September 2022

That Which I Touch Has No Name by Jennifer K Dick (Black Spring Press Group)

That Which I Touch Has No Name by Jennifer K Dick (Black Spring Press Group)

The dialogic process of Jennifer Dick’s poems occurs in a multilingual context in which English, French and Italian interweave. The demolition of meaning and of naming provides space for a provisional reconstruction of language that evolves in sounds, alliteration and chains of words. They evoke each other in a multifaceted, polyphonic rhythm that envisages infinite possibilities. A Saussurian signifier and signified are proposed in a different perspective in which Derrida’s concept of the loss of the centre seems to be more relevant. Traditional forms are reviewed and opposed, giving way to multiple voices and different perceptions. These diverse interpretations are ‘off-the-centre’, as Derrida claims, as there is no centre, or any transcendental or universal entity to which we can refer or appeal. This concept of displacement opens the individual up to the construction of alternative views. 

     Dick’s poetry is a poetical journey that delves into philosophical and linguistic topics without an apparent logic and with no definite ending or goals. It is a wandering around, sometimes in circles and at other times in a winding path that emphasises the process rather than the conclusion. Fragments and echoes of everyday life and today’s society, such as political issues, shootings, women’s rights, scientific knowledge and the environment, are embedded in her discourse. In this way she explores language and therefore identity in a complex and comprehensive view of being human. Though we are strangers to ourselves, we take ‘another self […] into ourselves’ in an exchange that is promiscuous and generates intertextual connections. 

     References to Sappho, Erin Mouré’s A Frame of the  Book and the myth of Dibutades, the inventor of the art of modelling clay in Pliny the Elder’s Historia Naturalis, trace constant intertextual routes throughout the collection and give direction to the narratives. It is a conversation that marks displacement and loss but also a constant attempt at replacement: 

her herding herself forward and again to go

forth into this bright afternoon unaccompanied 

by the whorls of the whims of another’s loss

                                                                      this body


absence in

the reassertion of self

space/shame in

a presence of griefs          (‘The Body As Message’)

Quotations from Mouré are signalled in grey notes as titles interweaved into the poems. They flag up the inconsistency of our reasoning when we try to make sense of ourselves through language. Words can deceive, and the only strategy for finding a way through the labyrinth is to create alternative connections:

collect stones, shells, ants, the carcasses

    of bees, derelict homing predilections

    combing the convex codex for a hived

    intermezzo  /  in stance  /  stead

                     of intermission

    stand               and              re-geolocate     

the space          (distance)        place                (‘Figurative Blight /’)

The myth of Butades’ daughter (Dibutades in French) is thoroughly explored in the central section, ‘Afterlife’. It is the legend of the origin of drawing and painting in which the protagonist outlines her lover’s shadow, which is cast on a wall. He will leave soon, so she wishes to keep the memory of him in the drawing. However, ‘Butades’ daughter possesses no independent name./She is not in the story./She is not.’ She is therefore erased from history, ‘an illusion,/a recollection of,/ a line traced onto the wall.’ Sections in French alternate with those in English in a partial translation that is also a reworking of the story. 

The ‘process/of redefinition’ culminates in the final poems in an ‘assay’, that is, an attempt to create through memory. The poems are ‘inkling of emerging vocabularies, linguistic minefields of the forgotten, written over, re-emergent’ (‘Assay’). Space and ‘body/time/language’ are in constant movement and transformation, projecting the outline of their shadows onto our uncertain existence. The collection examines the complexity of these fundamental concepts with precision and depth.

Carla Scarano D’Antonio 26th July 2022

Close to heart: collaborative work and the practice of (heartbeat) listening in Heart Monologues

Close to heart: collaborative work and the practice of (heartbeat) listening in Heart Monologues

The power of ‘the Eye of the Heart,’ which produces insight, is vastly superior to the power of thought, which produces opinions” (E.F. Schumach)

“’Cause hearts are the easiest things you could break” (“Some Candy Talking”, Jesus & Mary Chain)

“Poetry is like the human heartbeat. It belongs to everyone” (Imtiaz Dharker)

The meeting (of) minds. In June last year I was invited by Terry Lamb to give a performance of my multilingual poetry (in English, French and Croatian) at the first University of Westminster festival on global culture “World in Westminster”, 15-17 March 2022, celebrating cultural and linguistic diversity. We had discussed the idea of the performance back in 2019 but were unable to develop it due to the COVID-19 pandemic. Terry is a fine scholar and his commitment to language teaching and learning, as well a s to multilingualism are exceptional; I was both honoured and extremely pleased to be able to collaborate with him on the festival and to be able to bring my performance to the stage as an alumna PhD student of Westminster University.   

Heart monologues / Les monologues du coeur / Monolozi srca. When presented with an opportunity to give a live performance after two and a half years in lockdown, I immediately thought of my multilingual poetry sequence “Heartbeat monologues” (HM). I imagined it as a multisensory poetry recital incorporating elements of live music performance, sound, and live and recorded voices. I had just finished rewriting HM after having done some important work on it as part of my one-to-one mentoring work and summer workshop with poet, artist, and writer, Caroline Bergvall. This latest reworking of HM coincided with Terry’s invitation, which was perfect timing. 

I want to say here that Heart monologues (HM) would not be the success it has been without Atau Tanaka’s and Delphine Salkin’s unique artistic input, and their dedication and expertise, the contributions made by Robert Šantek and Bridget Knapper, permanent members of my multilingual poetry Unbound project, and the voices by Daniel Loayza and Emma Macpherson, the pre-recorded readers, as well as the voices of so many others that came to life in Delphine’s audio piece “HeartCoeurSrce”. Last, but not least, Jonathan Pigrem, sound technician from the Centre for Digital Music, Queen Mary, Martin Delaney, free-lance photographer and musician, Richard Woodford, Regents Street Cinema technician, and Ying Man, Regents Street Cinema Manager, all contributed to the success of HM by bringing their enthusiasm and expertise to the HM project.   

Heartbeat matters. I have known Atau Tanaka professionally for several years now and I have the greatest respect for both his cutting-edge scientific research and his avantgarde performance work. Atau’s “Heart Beat Monitor” is a track from the CD, Biorhythms (Caipirinha Music, 2001). It used a stethoscope to record the heartbeat and has been mixed and processed in an analogue electronic music studio to create hypnotic polyrhythms.  I heard “Heart Beat Monitor” some years ago almost by pure chance; my first thought back then was that it would work perfectly with the HM poems I had just finished writing; however, I was not sure how to take the idea of a collaboration further, nor what form it would take; I let this feeling sit with me thinking there would come an opportunity at some point in the future to get in touch with Atau. When I finally invited him to collaborate on HM and he agreed, I knew this was a very good sign. 

“Faites que le rêve dévore votre vie afin que la vie ne dévore pas votre rêve”. After my preliminary chat with Atau at the Mughead Coffee in New Cross in October last year, I started thinking about the artistic direction of the performance and how I would achieve a sonic integration of my multilingual poetry with music, sound and voice.  I knew that I did not have the necessary experience to put such as complex and multidimensional piece on stage; so, I reached out to Delphine Salkin, a Belgian-born theatre director, actress, sound artist and author currently living in Paris, and my best and oldest friend. I know Delphine since we were 12 years old and when I was living in Brussels with my family; we were spending a lot of time together daydreaming as teenagers and on one occasion she left me a note: “Faites que le rêve dévore votre vie afin que la vie ne dévore pas votre rêve / / “Let your dream devour your life, not your life devour your dream”, a quote from the Little Prince that stayed with me until the present day. Delphine’s artistic work on the human voice in performance, and her own very personal journey as an artist and woman who lost (literally) and recovered her own voice, an experience narrated in her autobiographical theatre piece “Interieur Voix” (2015), made her the perfect fit for HM. When I asked Delphine whether she would be free to collaborate with me and she accepted, I knew everything was falling into place. 

“I am muscle, vivant souvenir”.  Whilst the heartbeat sounds of “Heart Beat Monitor” introduced HM in poem 1, HM’s centre piece was Atau’s electronic music piece “Myogram” (Meta Gesture music, 2017) performed live; slowly entering the scene between poem 7 and 8, it continued throughout the second part of the HM recital including poem 9 with its opening line “I am muscle…” and intermittent play during poems 10, 11 and 12.  As Atau explains: “Myogram” is a concert work for performer and the Myo bio-electrical interface as musical instrument. The sensors capture electromyogram (EMG) signals reflecting muscle tension. The system renders as musical instrument the performer’s own body, allowing him to articulate sound through concentrated gesture. A direct sonification of muscle activity where we hear the neuron impulses of muscle exertion as data. Throughout the piece, the raw data is first heard, then filtered, then excite resonators and filters.” Interwoven with Atau’s electronic music were the verses of HM live poetry read on stage by three live readers (Bridget, Robert, myself), and the two pre-recorded voices (Emma, Daniel). The pre-recorded poetry verses and Atau’s music were mixed on his Mackie mixer and a stereo signal was sent to the front-of-house. The three live readers used wireless Sennheiser mics, and all this was mixed by our sound technician, Jonathan. After more than twenty years of practicing and performing his body and gesture work, there is no doubt that Atau has become a virtuoso at it; yet, he remains very modest about his art. 

Multilingual heart, multilingual voice(s). After doing a summary bibliographic review and speaking to an expert in theatre studies at Queen Mary University of London, I realised that the concept of multilingual voice was explored very little – if not at all – in theatre and voice studies. In HM, I wanted to explore the multilingual voice and its relation to the body through textual, sonic and musical expression. The public was invited to immerse her/himself in the different language sounds through the sonic and visual correspondences of the three tongues; I believe this approach to writing and performance allows the reader / listener to experience the multilingual poems without necessary knowledge of the three languages. The theme of the multilingual heart and the question of which languages the “heartsrcecoeur” speaks lie at the centre of HM; the heart is “monologuing” through a change of first, second and third-person narratives as a physical, poetic and philosophical entity. In the last two poems of the sequence (12 and 13) references are made to music research in heart arrhythmia and musical patterns, mixed with somewhat recent medical experiences. The final poem, poem 13 in which the heartbeats of “Heart Beat Monitor” return to the scene, is my poetic statement in which I fully apply the multilingual poetry method.

When trying to conceptualise my own ideas, the first question I asked myself was what does it mean to have a multilingual voice? Where in my body are the different languages I speak located? And more generally, what are the public’s expectations and perceptions of multilinguality? I cannot entirely tell how successful I was in treating these complex questions in the HM performance, yet there is no doubt that the poems in HM spoken out loud gained a quality that transcends any language, something that I believe was achieved through the sonic integration of sound, music and voice, and is the direct result of the collaborative artistic process we undertook as a group. Delphine’s sound piece “Heart Coeur Srce” played between poems 11 and 12 in which the sober notes of Pascal Salkin’s musical score are set against the voices of people (based on thirty different recordings) saying the word ‘heart’ in twenty-nine different languages is a celebration of, an ode to multilingual voice.   

Artistic practice and collaboration. As a multilingual poet interested in collaborative practice and interdisciplinary work my experience so far has been that still exists a view prevalent in the poetry establishment in the UK, and among the poets themselves, that we as poets are expected primarily to work in solitude; solitary work is valued positively as being one of the distinctive traits that defines us; at the same time, these perpetuating views and conditions create a space(s) within which we primarily compete against each other. Luckily, the perceptions and the ideal of the solitary artist have begun to shift in all areas (see, for example, the 2019 Turner Prize that was for the first time ever awarded to a collective of artists, rather than one individual artist). It is true that the artistic creative process in collaborative work can be confusing, messy, unpredictable, and authorship can be difficult to assign. During an interdisciplinary collaboration, we are constantly being confronted with the question of what it is we as artists are willing to concede to give space for other possible modes of expressions to develop; yet, we learn also how to free ourselves up from our own artistic egos. We learn to negotiate our own identity, views, ideas as artists in relation to other existing identities and practices of the other artists we collaborate with. As Bridget, HM reader and group member, observes about HM: “What was noticeable [in the HM collaboration] was the harmonious, egalitarian nature of the group. There was a total absence of competition between the participants, no hierarchy, no directing leader. The author and director held their knowledge and competences lightly, creating a space for us all to navigate the text, the sound, the space.”

Since I became involved in interdisciplinary artistic collaborations through my multilingual poetry performances (I use the word performance here in the broadest of senses), I realised that mutual trust is one of the most important ingredients (if not the most important one) that defines whether such a collaboration fails or succeeds. The second most important ingredient is the right chemistry between the collaborators. Finally, the third one is the ability to trust the creative process, to “let go”. It is true that each collaboration is different, and that each participant has their own views about what makes a successful collaboration; it would therefore be wrong for me to assume we all share the same ideas and goals; however, it is safe to say that all successful collaborations (artistic or other types) invite a specific type of listening, quality of dialogue. 

Collaboration and the practice of listening. Having attended a couple of Caroline’s collaborative practice workshops – most recently the 7-week “Practice conversations” course last summer with nine other artists, (as part of the newly founded Solitary + Solidary Arts Lab) – one of the things I learned is there is both an interdependency and a subtle balance between solitary and solidary artistic practice; an ecological equilibrium. In the messiness of today’s world, a solitary artistic mode of working can no longer function fully without the solidary mode, and the other way around. Embracing collaborative work as a method for the development of one’s own artistic practice not only enriches one’s own development; it also enables the community and work of other artists through the range of active listening practices; listening can become a key element of artistic practice, a “part of a two-way dialogue”, an “action” that leads to change (Farinati & Firth, 2017). It takes heart, openness, and courage to show our own vulnerability as artists before we are ready to embark on any kind of collaborative artistic voyage

A few final words.... The work on HM coincided with the beginning of the Russian invasion of Ukraine in February. In the first days of the invasion, my memories, and images of the war in ex-Yugoslavia rushed back. I was stunned, speechless, incapable of articulating my own feelings, ideas; the horror of war is unfolding daily in front of our eyes more than 100 days later; so close to the heart of Europe; only three and half hours from London. In that context, any gesture, however small, counts. For me, HM and the collective sound piece “HeartCoeurSrce” represent that very small, but necessary gesture. To have heartcoeursrce. To have courage.

I wish to thank the Centre for Poetry, Queen Mary University of London, and the University of Westminster for co-funding Heart Monologues, 16 March 2022, Regent Street Cinema, University of London (Part of “World in Westminster” Festival, 15-17 March 2022). I also wish to thank the Centre for Digital Music, Queen Mary, for their continued support.


Materials from Heart monologues:

Bolfek-Radovani, Jasmina, Heart monologues (2m 47s), 2022, Youtube.
Bolfek-Radovani, Jasmina, Heart monologues (33 m), full audio recording, 16 March 2022, Regent Street Cinema, London, Soundcloud (recorded by Richard Woolford at the Regent Street Cinema, 16 March 2022). Bolfek-Radovani, Jasmina, Heart monologues, moving poster, 2022, Vimeo. 
Salkin, Delphine (1m19s), Heart Coeur Srce, Soundcloud.
Tanaka, Atau, “Myogram”, Meta Gesture, 2017, Youtube
Tanaka, Atau, “Heart Beat Monitor”, Biorhythms, 2000, Youtube.

Related references:

Bolfek-Radovani, from Heart monologues: 1. & 3., The Fortnightly Review, January 2022.
Cavanero, Adriana, Towards a Philopsophy of Vocal Expression, Standford: Standford University Press, 2005. Farinati, Lucia & Firth, Claudia, The Force of Listening, New York: Errant Bodies Press, 2017.
Inchley, Maggie, Voice and New Writing, Basingstoke: Palgrave Macmillan, 2015.
Konstantinos, Thomaidis, Theatre and Voice, Basingstoke: Palgrave, 2017.
Salkin, Delphine, “Interieur Voix”, (first created in December 2015) Rideau de Bruxelles, December 2019 (With and by Delphine Salkin, Pierre Sartenaer, Raymond Delpierre, and Isabelle Dumont).
Practice Conversations, seven-week summer course led by Caroline Bergvall, 17 June – 29 July 2021, Solitary + Solidary Arts Lab.

Jasmina Bolfek-Radovani 29th June 2022

Tears in the Fence 75 is out!

Tears in the Fence 75 is out!

Tears in the Fence 75 is now available at and features poetry, prose poetry, translations, fiction, flash fiction and creative nonfiction by Mandy Pannett, Greg Bright, Penny Hope, David Sahner, Stephen Paul Wren, Alexandra Fössinger, Mark Russell, Maurice Scully, Gavin Selerie, Mandy Haggith, Lynne Cameron, Sarah Watkinson, Jeremy Hilton, Gerald Killingworth, Lesley Burt, Nic Stringer, Sam Wilson-Fletcher, Lilian Pizzichini, Paul Kareem Tayyar, Beth Davyson, Rethabile Masilo, Tracy Turley, Olivia Tuck, Elisabeth Bletsoe & Chris Torrance’s Thirteen Moon Renga, Wei Congyi Translated by Kevin Nolan, Basil King, Robert Sheppard, Lucy Ingrams, John Freeman, Mélisande Fitzsimons, Deborah Harvey, David Harmer, David Ball, Rupert M. Loydell, Jeremy Reed, Alexandra Corrin-Tachibana, Sian Thomas, Chaucer Cameron, Huw Gwynn-Jones and Simon Collings.

The critical section consists of editorial, essays, articles and critical reviews by David Caddy, Elisabeth Bletsoe Remembering Chris Torrance, Jeremy Reed on The Letters of Thom Gunn, Simon Collings’ ecocritical perspective of Rae Armantrout, Isobel Armstrong on Peter Larkin, Barbara Bridger on Barbara Guest, Andrew Duncan on Elisabeth Bletsoe & Portland Tryptich, Frances Presley on Harriet Tarlo,  Simon Jenner on Geoffrey Hill, Steve Spence on Sarah Crewe, Mandy Pannett on Charles Wilkinson, Clark Allison on Ken Edwards, Guy Russell on Paul Vangelisti, Norman Jope on Ariana Reines, Lyndon Davies on Elena Rivera and Scott Thurston, Harriet Tarlo on Carol Watts, Morag Kiziewicz’s Electric Blue 10 and Notes On Contributors.

Tears in the Fence 73 is out

Tears in the Fence 73 is out

Tears in the Fence 73 is now available at and features poetry, prose poetry, multlilingual poetry, translations, flash fiction and fiction from Mark Russell, Neha Maqsood, Penny Hope, Mandy Pannett, John Freeman, Sandra Galton, Wioletta Greg translated by Maria Jastrzębska & Anna Blasiak, Robert Sheppard, Peter Dent, Alison Lock, Caitlin Stobie, Jeffrey Graessley, Jasmina Bolfek-Radovani, L. Kiew, Mohammad Razai, Alex Barr, Michael Farrell, Olivia Tuck, Paul Rossiter, John Goodby, Maurice Scully, Tim Allen, Lucy Maxwell Scott, Anna-May Laugher, Alexandra Corrin-Tachibana, Mélisande Fitzsimons, Marcia Hindson, Hari Marini, Oliver Dixon, Gwen Sayers, Beth Davyson, Steve Spence, Valerie Bridge, S.J. Litherland, Karen Downs-Barton, Frances Presley, Mark Dickinson, Alison Brackenbury, Phil Williams, Rhea Seren Phillips, Oliver Southall, Sarah Salway and Sarah Watkinson.

The critical section consists of Louise Buchler’s Editorial, Jeremy Hilton on Hart Crane, Jeremy Reed on Denise Riley, Mandy Pannett on Sascha A. Akhtar, Geraldine Clarkson, Robert Hampson on Jeanne Heuving, Andrew Duncan on Molly Vogel, Clark Allison on Robin Fulton Macpherson, Walter Perrie, A.L. Kennedy, Guy Russell on Lesley Harrison, Alejandra Pizarnik, Mark Prendergast on Mercè Rodoreda, Siân Thomas on Susie Campbell, Steve Spence on the Plymouth Poetry Scene, David Caddy on Stephanie Burt’s Callimachus, Richard Scholar’s Émigrés, Ric Hool on Mélisande Fitzsimons, Morag Kiziewicz’s Electric Blue 8 and Notes on Contributors.

Tears in the Fence 72 is out!

Tears in the Fence 72 is out!

Tears in the Fence 72 is now available at and features poetry, multilingual poetry, prose poetry, flash fiction, fiction and translations from Mandy Haggith, Andrew Duncan, Elzbieta Wojcik-Leese, Charlotte Baldwin, Jeremy Reed, Lynne Wycherley, Joanna Nissel, Mandy Pannett, Sam Wood, Genevieve Carver, Sarah Acton, Alexandra Corrin-Tachibana, Mike Duggan, Daragh Breen, Tracey Turley, Karen Downs-Burton, Barbara Ivusic, John Freeman, John Millbank, Olivia Tuck, Rowan Lyster, Sarah Watkinson, Greg Bright, Robert Vas Dias, Lucy Sheerman, Andrew Darlington, David Punter, Beth Davyson, Michael Henry, Judith Willson, John Gilmore, M.Vasalis translated by Arno Bohlmeijer, Paul Rossiter, Charles Wilkinson, Rupert M. Loydell, Reuben Woolley, Kareem Tayyar, Peter Hughes, Zoe Karathanasi, Lucy Hamilton, Lydia Harris, Lucy Ingrams, Mark Goodwin, Simon Collings, Aidan Semmens, Vasiliki Albedo and Ian Seed.

The critical section consists of David Caddy’s Editorial, Jennifer K. Dick’s Of Tradition & Experiment XIV, Andrew Duncan Apocalypse: An Anthology edited by James Keery, Lily-Robert-Foley on Jennifer K. Dick’s Lilith, Clark Allison on Geoffrey Hill, Alice Entwhistle on Frances Presley, Belinda Cooke on Peter Robinson, Nadira Clare Wallace on Ella Frears, Ian Brinton on Ray Crump, Norman Jope on Menno Wigman, Oliver Sedano-Jones on Anthony Anaxagorou, Steve Spence on Gavin Selerie, Morag Kiziewicz’s Electric Blue 7 and Notes on Contributors.

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