Paladin Poetry: Re/Active Anthologies
In February 1990 Andrew Crozier wrote to Ian Paten the Editorial Director of Grafton Books concerning the possible publication of his own work alongside that of Donald Davie and C.H. Sisson in one of Iain Sinclair’s new triad of poets: Paladin’s Re/Active Anthologies. Crozier’s letter stressed the importance of the Grafton poetry programme and recognised that it is ‘perceived as such I know by literary and academic colleagues.’ He concluded ‘I am very glad to be associated with it.’ Iain Sinclair’s editorial work with Paladin had overseen the publication of some remarkable volumes at the end of the eighties and beginning of the nineties including John Ashbery’s April Galleons, Gregory Corso’s Mindfield, Jeremy Reed’s Red-Haired Android, Douglas Oliver’s Three Variations on the Theme of Harm, the Crozier-Longville anthology A Various Art as well as his own collection Flesh Eggs & Scalp Metal. As if to pick up on the ambitious Penguin venture of the seventies of placing three poets together between the covers, so to speak, Sinclair’s new venture of Re/Active Anthologies was a sheer delight. The first to appear contained a subtitle, future exiles, 3 London Poets, and represented the work of Allen Fisher, Bill Griffiths and Brian Catling. As the blurb put it these poets are ‘rogue angels, dynamic presences as yet largely ignored in the cultural life of the capital.’ The second volume to appear was subtitled ghosts in the corridor and contained a substantial selection of work by Crozier, Davie and Sisson. The Andrew Crozier poems were of course selected by himself and it is no surprise to see ‘The Veil Poem’ and ‘Pleats’ in their entirety as well as some separate delights such as ‘The Heifer’, a poem written ‘after Carl Rakosi’ and for Andrew’s wife, Jean. The third of these remarkable anthologies, the tempers of hazard , contained work by Thomas A. Clark, Barry MacSweeney and Chris Torrance. Sinclair’s own account in Lights Out for the Territory says it all:
The Tempers of Hazard was launched with a reading at Compendium. And then rapidly pulped…An instant rarity. A book that began life as a remainder and was now less than a rumour. A quarter of a century’s work for the poets: scrubbed, reforgotten.
Referring to the pulping of this last Re/Active Anthology Chris Torrance wrote to me eight years ago to say that ‘The Paladin Glowlamp was already written into the script. I was forewarned; I could see which way the wind was blowing, the wind of razors shredding text, of Farenheit 451.’