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Selected Poems: 1989-2012 by Simon Smith (Shearsman Books) Part Two

On the reverse side of this selection David Herd is quoted from The Oxford Handbook of Contemporary British and Irish Poetry where he comments upon Simon Smith’s sequence of poems from 2010, London Bridge:

“Simon Smith’s writing forges English language poetry out of the translated utterance, his most recent volume, London Bridge, fixing itself not to place but to the questions of crossing.”

In an article by John Wilkinson titled ‘Stone thresholds’, published in this year’s Textual Practice there is a fine reading of Andrew Crozier’s late poem ‘Blank Misgivings’, “built on the rubble of a postwar cityscape and of postwar political hopes”. Wilkinson notes that the poem’s title is borrowed from Arthur Hugh Clough:

“The ruined landscape fills with sounds and obstructions as well as ‘unbuilt monuments’; like the ‘extinct hiss’ which is still incendiary and the ‘static roar’ from space, it is haunted by futurity as well as the past. Neglected past participles throng in this poem, still hissing and burning. What is performed here and enjoined on a reader is a hermeneutic work of remembrance, reconnection and shaping.”

Reading through the selection of twenty-five sonnets from ‘Unfelt, A Poem in Forty-Four Parts’, which occupies a prominent section towards the end of this new Selected Poems I am drawn back to looking at Clough again. The awareness of ghosts haunting the ‘you’ and the ‘I’ in Smith’s sequence reminds me of the tone of ‘Amours de Voyage’. In section VIII of that fine poem from 1862 Claude writes to Eustace:

“After all, do I know that I really cared so about her?
Do whatever I will, I cannot call up her image;
For when I close my eyes, I see, very likely, St. Peter’s,
Or the Pantheon façade, or Michael Angelo’s figures,
Or, at a wish, when I please, the Alban hills and the Forum –
But that face, those eyes – ah no, never anything like them;
Only, try as I will, a sort of featureless outline,
And a pale blank orb, which no recollection will add to.
After all perhaps there was something factitious about it:
I have had pain, it is true; I have wept; and so have the actors.”

The shadows which haunt Simon Smith’s sonnet sequence offer glimpses of world lost in which “I cannot distinguish between your acts now” (2) and that world of ‘crossing’ which is perhaps pointed to in that quotation from David Herd may be seen most clearly in sonnet 41:

“The literal truth of history I feel you in the air
& the sun but not in detail everything is at once
Too near & too far enough to make me tremble
Quietly as we are, you at New Cross, & I here”

Simon Smith’s poems have often been located in a recognizable topography and the power of this sonnet sequence is located in the way the poet moves from this ‘here-and-now’ to an awareness of how we stand upon the flagstones of our pasts. This is a poet who has read his Olson as well as his O’Hara:

“we compare notes
we meet, shall I come
to you or will you come to me
unhappy as Mercury in our shape-shifting
as we row backwards always backwards rolling
towards beginning with all the inevitable permanence
of the concrete breeze blocks, their presence, their weight
their grey bulk

floats off
above
city
air
to be with”
(‘Ode to David Herd’)

Simon Smith is a major poet of the present and his voice is distinctive as the world of America and England meet in a manner that the shade of Clough may well smile at; after all, ‘Amours de Voyage’ was first published in the Boston Atlantic Monthly.

Ian Brinton, 25th April 2017

More Flowers Than You Could Possibly Carry, Selected Poems 1989-2012 Simon Smith (Shearsman Books)

More Flowers Than You Could Possibly Carry, Selected Poems 1989-2012  Simon Smith (Shearsman Books)

Part I: CONTEXT

Simon Smith’s poetry is always on the move and Fifteen Exits (Waterloo Press 2001) is no exception. Although published at the opening of the new century the individual ‘exits’ are all dated in the closing years of the previous one. The place of first publication and the names of the travelling companions are also included. The volume’s opening poem, ‘The Nature of Things’, is dedicated to J.D. Taylor, carries an epigraph from Stephen Rodefer and begins in a slightly old-fashioned epistolary fashion suggestive of being on the cusp of change:

Dear John, my friend
can I call you that?
No news, but poetry.

First published in West Coast Line in the Fall of 1995 the poem was originally titled ‘Didactic Ode’ but with the new century a re-reading of Lucretius impelled ‘These coarsened times’ to ‘swallow the Works of the Ancients too’.
Reviewing Smith’s 2010 Salt collection, London Bridge, Ben Hickman had referred to the poems as ‘fast’ or, as if just to check that distance between perceiver and perceived, ‘rather, the world they intermediate in is’:

The achievement of the poems is to hang on to this world while remaining faithful to the fact that, in the twenty-first century, this is not easy. Smith, in a sense, has it both ways, reflecting the fragmentation of experience but also often enough able to grab it, celebrate it, mourn it or present its beauty.

Hickman’s use of the word ‘fragmentation’ here inevitably conjures up the world of early Modernism, particularly T.S. Eliot whose ‘fragments’ were ‘stored against’ his ruin in The Wasteland. London Bridge is peopled with literary ghosts, from the opening poem’s weaving of John Ruskin’s ‘Storm-Cloud of the Nineteenth Century’ into Second World War air-raids over London to Chaucer, Keats, Baudelaire, Rilke, Kafka, Apollinaire, Pound and Saussure.

Smith’s concern with poetic voices had been announced earlier with the title of his 2003 volume for Salt, Reverdy Road. A reference to the French poet, translated by Kenneth Rexroth, points us to the end of one of Frank O’Hara’s most well-known pieces, ‘A Step Away From Them’ which itself concluded with his heart in his pocket, ‘it is Poems by Pierre Reverdy.’ This link to O’Hara is central to Simon Smith’s poetry: poems which appear to present a quality of the random are in fact highly-wrought and careful vignettes of modern urban and suburban life. As a practitioner Smith is also concerned with the line as well as the music of verse and it is fitting that the short poem ‘Olson’ from Reverdy Road should focus not only on the geography of Fort Square but also on the emphatic Olsonian concern for the poetic line:

Looking off the watch-house quay into fog.

Olson scrawling walls and every surface.

Hi, gran pops! Information log-jammed.

Everyday is small. A few drops

The other way look the other way there

It goes the World harder than love. The line.

In 2011 Veer Books published Smith’s sequence of poems, Gravesend, reflections of a train journey between Charing Cross and Chatham. The volume opens with a desire for permanence within a shifting landscape, a narrative that contains ‘whatever occurred at that particular moment at the carriage window, or on the train.’ However, the hunger for permanence and some sense of stability in a fast-moving world is undermined by the subject material of potential catastrophe. Within these poems we will be confronted by the ghosts of Conrad and Dickens, Walter Benjamin and Paul Weller (Jam to Style Council), Juvenal, Claudius, Caesar, Vespasian, Neil Young and Browning, Spenser and Catullus. This wide frame of reference offers a living background to the ‘now’ and it is worth looking at Smith’s 2005 review of Josephine Balmer’s new translation of Catullus published by Bloodaxe (Poetry Review, Vol. 95, No. 1). In a scathing reference to the former Education Minister Charles Clarke’s pronouncement that educational subjects worthy of study ‘need a relationship with the workplace’ Simon Smith pointed out that if you want to become a politician perhaps you should read Cicero, Plato or Aristotle before going on to pose the question ‘where else is the foundation of Western democracy other than in the Ancient worlds of Greece and Rome?’
In contrast to this sense of continuity, however, one pervasive tone threading its way through the Gravesend sequence is that of impermanence and perhaps another shadow behind the literary urban scene is Paul Auster whose novel In the Country of Last Things (1987) drowned the reader in instability:

When you live in a city, you learn to take nothing for granted. Close your eyes for a moment, turn around to look at something else, and the thing that was before you is suddenly gone.

A child’s recognition of vertigo and terror finds one its most moving manifestations in the opening pages of Dickens’s Great Expectations where the young Pip is surrounded by the graves of his family as he stands on the marshland of North Kent one Christmas-eve. The presence of this little seed in the opening poem of Smith’s journey sets the scene for the injustice of life and the oppressive political insensitivity of the adult world masquerading as the language of ‘Progressive education’ and ‘liberal democracy’

Where ‘life’ became a history to cry out
About grey and brown flatlands tilted
Over the edge dangling Pip.

As the train approaches Bluewater shopping-city, itself an Auster or Ballard world, ‘Assessment elides policing’ and the prevailing sense of educational policy which would have doubtless found favour with that now historical Minister, Clarke, prompts the poet to mis-read a sign on a grey bin labelled ‘not working’ as ‘networking’! This is a world of captions and key-words which present themselves as mirrors of everyday narrowness.
Gravesend, republished in 2014 by Shearsman as the second section of 11781 W. Sunset Boulevard, is not a disconnected set of fragments shored against this poet’s ruin but is a collage where ‘Opposite Burger King’ there will be the outline of a Roman temple and where ‘Ghost landscapes slip the train window.’ As the reader arrives finally at Chatham, the ‘End of the line’, the journey has been a narrative in the sense used by Ortega y Gasset in Historical Reason, (published in 1984, the year of the miners’ strike and Big Brother):

So if we resort to the image, universal and ancient as you will see, that portrays life as a road to be travelled and travelled again—hence the expression “the course of life, curriculum vitae, decide on a career”—we could say that in walking along the road of life we keep it with us, know it; that is the road already travelled curls up behind us, rolls up like a film. So that when he comes to an end, man discovers that he carries, stuck there on his back, the entire roll of the life he led.

Or as Simon Smith, sardonic, shrewd and humane poet, concludes:

Me in pin-sharp form,
The ring-pull moment of chance,
Reality a line right through.

In his most recent poems, written in 2014 whilst on the West Coast of America doing research work for his forthcoming Paul Blackburn Reader, Smith pursues his concern with speed and place

father farther out with each act
of memory whilst I’m here
locked between the non-stop grind of trucks west
and endless gridlock east
trying to learn Italian
from reading Franco Beltrametti’s Face to Face
each neighbourhood a tight packet of stuff

Beltrametti’s book was published in 1973 by Grosseteste Press and Smith’s awareness of the Italian poet is not only a sly reference to John James’s sequence of poems published by Equipage in 2014 (Songs in Midwinter for Franco) but also to the poet whose merging of the immediate and the far produced embers which became fire and in whose own work ‘introspection creaks like stretched / leather, gaudy and plain, at half past / midnight 50 km out of town’.

Eating tangerines.
Missing people—lots.

Ian Brinton 17th April 2017

The Poetry of John James Conference

The Poetry of John James Conference

Last Saturday saw Magdalene College, Cambridge, host this conference to celebrate the poetry of John James. It was organised by the current Judith E. Wilson Fellow, Peter Hughes, whose Oystercatcher Press has published both Cloud Breaking Sun (2012) and Sabots (2015). I recall reviewing Sabots for the Tears blog in August 2015 and concluding that it is “an uplifting sequence of three poems which restores a sense of vitality and endurance within a world threatened by commercial bureaucracy and targets”.

The conference was itself uplifting and by the end of the day I realised that the speakers had taken us on a journey which involved close textual criticism, overviews of the place of John James’s work in contemporary poetry and personal reminiscence. Emphasis was placed on the role of music within the poetry and the importance of the visual arts to a man whose sense of the flâneur is still to be recognised in the laughter and wry awareness exhibited by the poet in the audience who turned to me at one point to say “Who is this poet? I must get hold of some of his work”.

The speakers included Rod Mengham whose Equipage Press has published both In Romsey Town (2011) and Songs In Midwinter For Franco; Andrew Taylor whose debt to James weaves its way through his own Oystercatcher volume Air Vault; Simon Smith, Ian Heames, Peter Riley, Drew Milne and Geoff Ward spoke and read and by the end of the day there was a feeling that the success of this event was partly to do with the range of focus: different takes on a common theme of respect for this poet whose first published volume had appeared half-a-century ago from Andrew Crozier’s Ferry Press.

The poem ‘Pimlico’ was read (first published in Tears) as was ‘A Theory of Poetry, twice, and there was a beautifully produced gift from Ian Heames of his own finely published copy of the original Street Editions in comfrey blue. There was a sense in the auditorium of what John James referred to in his ‘Poem beginning with a line of Andrew Crozier’:

“I reach toward the poetry of kindred
where we speak in our work as we seldom do otherwise”

My review of Sabots had ended with a simple statement about the book:

“It is a tribute to the quietly unchanging in a fast-changing world. It’s terrific!” The same could be said of the 2017 Cambridge Conference on the Poetry of John James.

Ian Brinton, 13th March 2017

The Thief of Talant: Pierre Reverdy translated by Ian Seed (Wakefield Press)

The Thief of Talant: Pierre Reverdy translated by Ian Seed (Wakefield Press)

When Philippe Jaccottet wrote a short account of the central importance of Reverdy in an essay from 1960, reproduced by Gallimard in 1968 as part of a collection of essays titled L’Entretien des Muses, he highlighted the way in which the poetry is to be found “dans chaque mot qui éclate sur la page sèche, avide, éblouissante”. This is not, he continued, the large noble architecture of Claudel or Saint-John Perse but instead it focuses upon the “moindre bonheur, les voiles de la pluie, la fuite des nuées, les lueurs des vitres”. It is this sharp awareness of the accumulation of detail in the world that makes his work so important to two later poets, Frank O’Hara and Simon Smith. O’Hara’s lunch hour walk around the city concludes with the lines

“…My heart is in my
pocket, it is Poems by Pierre Reverdy.”

The poetry in O’Hara is in each word which bursts onto the empty space of the page, “avide”, asserting its right to be there.

“There are several Puerto
Ricans on the avenue today, which
makes it beautiful and warm. First
Bunny died, then John Latouche,
then Jackson Pollock.”

The fragility of the everyday is caught melting between the Puerto Ricans who make the day “beautiful and warm” and the end-of-line word “First” which heralds the references to the death of three close friends. The poet seems to be not only a step away from the dead but also from the fast movement of the day, as sensations disappear almost as soon as they are presented. Simon Smith’s volume from 2003, Reverdy Road (Salt Books), pays nodding homage to both the French and American poets as his poems, whilst appearing to present a quality of the random, are in fact highly-wrought and careful vignettes of modern urban and suburban life. The 2011 sequence, Gravesend (Veer Books), offers reflections of a train journey between Charing Cross and Chatham and what Jaccottet referred to as “lueurs des vitres” stabilize themselves with a desire for permanence within a shifting landscape: the poems themselves attempt to halt the sense of vertigo prompted by a world of captions and key-words presenting themselves as mirrors of everyday narrowness.

Ian Seed’s translation of Reverdy’s Le Voleur de Talan, the first time that it has been translated into English, brings us a world of a hundred years ago. The First World War is being fought, Cubism bisects reality and Reverdy’s friends are Picasso, Braque, Apollinaire. In his clear and informative introduction Ian Seed recreates a sense of that time:

“Up until the outbreak of the First World War, Reverdy also frequently met up with the poet Guillaume Apollinaire at the Café de Flore. Their discussions would often revolve around the use of punctuation in poetry and the shape of the text on the page. Reverdy, like Apollinaire, was uneasy with the way punctuation could interfere with the flow of a poem. They also questioned the poem’s abandonment of the right side of the page to blank space. What they were searching for was syntax and visual arrangement of text that would allow a poem to achieve its full expression.”

It is worth bearing in mind here of course that Mallarmé’s ‘Un Coup de Dès’ had appeared in 1897 shimmering and weaving its way across the pages of Cosmopolis.
Seed’s translation captures that “fuite des nuées” talked about by Jaccottet and he presents the reader with what he refers to as “a hauntingly beautiful long poem” which contains at its heart “Reverdy’s growing sense of dislocation and loss of self”. We read details as “Lights ran between doors / Soft sounds brushed / the partitions and some women went by / singing” and distance them as “Paler than old memories”. We seek a world of Orpheus as “We often turn our / heads and behind us / something flees much / faster than us” but the poet wants “to go / up once more after I / had descended forever.”

“Outside the closed door people passed by
slowly looking at the ground

They were looking for traces of my footsteps”

The traces are in the printer’s marks on the white page and we are now able to follow them in English thanks to the quality of Ian Seed’s own poetry: he brought something back to life.

Ian Brinton 8th January 2017

Baby Patricia Debney Liquorice Fish Books (Cinnamon Press; www.inpressbooks.co.uk)

Baby  Patricia Debney  Liquorice Fish Books (Cinnamon Press; www.inpressbooks.co.uk)

In Julian Barnes’s novel Flaubert’s Parrot the narrator, Geoffrey Braithwaite, refutes the role of historiographer and explodes what could have been a singular history into infinite fragments, interminable possibilities. Even where there are well-documented sources such as the Greek journeys of Flaubert and Maxime Du Camp the story-teller presents the reader with contradictions as accounts differ, journals disagree and, in conclusion, Braithwaite tells us “What happened to the truth is not recorded”.
Patricia Debney’s new collection of poems and prose focuses upon the edge of vision, that which can be detected out of the side of the eye, and the often quite imperative tone confronts us with a sense of responsibility for what seems to be hiding there:

Things Which Had I Stopped to Consider –
Really Consider – Or If I’d Been Older –
Might Have Been Clues

‘That time we took Violet the cat – who had six toes on each front
paw – up to the Blue Ridge Parkway. You said she would like to
get out of the city. We opened the car door and she ran away, right
into the rhododendron up the side of the mountain. We called and
called – Violet! Violet! – but she never came back.

The time you locked yourself in the bedroom. I screamed – don’t
do it, don’t do it
– but you still didn’t come out.’

On the back cover of this remarkably disturbing volume of memory’s fragments Simon Smith mentions the ‘desolation of Hopper’ and there is an eerie exactness about this reference. In the 1939 painting ‘Cape Cod Evening’ (National Gallery of Art, Washington) a man sits on the doorstep in front of a house and a woman stands with folded arms looking downwards at his hand which is offered out with something in it held there to attract a dog. There is a kind of serenity in the scene except that the dog is peering alertly away from the man and, with ears pointed and tail sticking out horizontally, is staring at something (some thing) off stage. It is a very unsettling painting as one becomes aware of the importance of whatever is there, just out of sight!
Carrie Etter’s comment raises to my mind another source for this collection of ‘fragments, prose poetry, and white space’ (Jane Monson):

‘In her compelling new collection, Patricia Debney deftly fractures narratives, lines, and syntax to evoke a daughter’s struggle with an unstable mother. Baby intelligently renders their fraught relationship in all its emotional complexity.’

I am drawn back here to Toni Morrison’s 1987 novel Beloved which opens with the uncompromising statement ‘124 WAS SPITEFUL. Full of a baby’s venom. The women in the house knew it and so did the children.’ The epigraph Toni Morrison chose for her novel was from the letter Paul the Apostle wrote to the Romans and the nine sections of Debney’s poem ‘Armour of Light’ take their title from a reference to Romans 13:12. Whereas Morrison’s reference presents us with a contradiction concerning who is beloved Debney’s has a positive assertion of the day being at hand as the night is far spent. In these fragmentary shards of writing the poet sifts through ashes, picks ‘through remnants / of fires / in which not everything / burned’:

‘fragments
of bone
mostly yours
evidence
of kindling
not caught

and horded
secret hopes’

Just as History isn’t what happened but is instead what Historians tell us happened, the story of our selves is an accumulation of fragments upon which we place narrative sequence. Patricia Debney’s eerie and moving collection presents us with characters whose story is made up of what happens between the lines and just off the stage.

Ian Brinton 6th October 2016

Salon Noir by Simon Smith (Equipage)

Salon Noir by Simon Smith (Equipage)

The epigraph at the front of this stunningly presented new book of poems from Rod Mengham’s Equipage is significant in that it points the way forward:

‘Place and the spirit of place is the inspiration of more poetry than we nowadays like to admit; and to do poetry justice, the critic needs to turn himself into a tourist’.

These words conclude Donald Davie’s essay on ‘The Cantos: Towards a Pedestrian Reading’ (spring-summer 1972) and they possess the faint timbre of a Michelin Guide to the Cathar regions of Foix, Palmiers, Montaillou and Montségur. And in similar mode one of the best tourist guides of poetry during the Pound era, Hugh Kenner, allowed his engaging narrative to act as our signpost in 1972 as we were transported back to 1919, ‘a good summer for the impecunious to travel’. Ezra and Dorothy Pound met Tom Eliot ‘near Giraut de Bornelh’s birthplace, Excideuil’:

‘The three headed south, the Pounds finally to Montségur but Eliot on a divagation of his own to inspect nearby cave drawings. That may have been at the Grotte de Niaux. We are to imagine him, rucksacked, deep inside a mountain, individual talent confronted by the Mind of Europe, satisfying himself that art never improves (“but the material of art”—here, bison “d’un pureté de trait étonnante” drawn with magnesium oxide in bison grease—“is never quite the same”), while 20 kilometers eastward by crows’ flight the Pounds, fortified with chocolate, were climbing the southwest face of Montségur to the white walls that ride its summit like a stone ship.’

Naturally enough Thomas Stearns Eliot, gentlemanly figure from London, was a different type of tourist from the Pounds, as is evident from his short letter to Lytton Strachey written in late August that year:

‘I have been walking the whole time since I arrived and so have had no address at all. Through Dordogne and the Corrèze, sunburnt—melons, ceps, truffles, eggs, good wine and good cheese and cheerful people. It’s a complete relief from London.’

Simon Smith’s poetic journey into that part of France north of the Pyrenees merges past and present as his Airbus A320 ‘prepares for final descent & the slip towards Tolosa / Piere Vidal’s town’. This is the first reference to Paul Blackburn, a haunting presence throughout the sequence of poems, and to his Peire Vidal translations published by Mulch Press also in 1972, a year after the American poet’s death. A second follows immediately:

‘the lines you carry with you
lines in lieu of memory
the ghost of Paul Blackburn takes up the work from E.P.
poets metamorphosise
into tourists & time shuffles forward one hour’

This awareness of time is central to the whole sequence and in the fifth poem we are presented with the Salon Noir itself deep within the Grotte de Niaux:

‘Gallery of the Scree the Deep Gallery
damp limestone metamorphosing
stalactites drip

reform as stalagmites
climb the ossified sand dune
thirty-odd feet high

& to the Salon Noir a kilometre deep
bison some ice-age horses ibex deer
off limits the Réseau Clastres & the only weasel

Panel II bison facing away
right 13,850 BP counterpoint
to Panel VI 12,890 BP bison facing left

a dead female & a thousand years between

outlined in charcoal or a mixture
manganese dioxide
for black haematite for red

clear as today lit by torch battery
our eyes are their eyes
no history between’

In his introduction to Blackburn’s Peire Vidal, the editor commented upon the excellence of the American poet’s choice in translating the poetry of the Provençal troubadours because it was a choice made out of a special affinity for them: ‘Because he had the gifts and desire, he became one and all of them, as with genius and learning he gave their poems his own voice and new life in a new language.’ There is an integritas in the late-twelfth century poet which also sits closely alongside Simon Smith’s re-creation of the Cathar world of Montségur, the temple to the sun which Pound had brought back into focus in Canto 76:

‘….and the rain fell all the night long at Ussel
cette mauvaiseh venggg blew over Tolosa
and in Mt Segur there is wind space and rain space’

Simon Smith’s ‘Montségur’ opens with space and movement, white on the page, background to the movement of ‘swallows tipping in / & out of thermals’. The expansion of light as recorded by Robert Grosseteste in his De Luce: a little tract from around the same time as Vidal’s song which tells us that ‘light of its very nature diffuses itself in every direction in such a way that a point of light will produce instantaneously a sphere of light of any size whatsoever, unless some opaque object stands in the way.’ In Smith’s poem the ‘luminous’ is ‘a punishing light & infinite thirst’ as we are presented with the sketch of

‘the last two hundred die-hard Cathars
below the prat dels cremats
eight months of dissent’

The movement of history and geography, the tourist’s awareness of how time does not alter everything and, as Eliot was to assert about the unchanging nature of art, the then and the now overlap like ‘the infinite / tripping over of water / from the fountains into the babble of voices’.

Paul Blackburn’s ‘Ab l’alen tir vas me l’aire’ opens with the immediacy of

‘I suck deep in air come from Provence to here.
All things from there so please me
when I hear
in dockside taverns
travelers’ gossip told
I listen smiling,
and for each word ask a hundred smiling words,
all news is good’

Simon Smith’s journey to the Salon Noir brings back this sense of air and noise, a history of both then and now. As with every good tourist trip a reader will want to return and return in order to savour again those moments glimpsed; such as

‘John James alone on the wide terrace of the Café de la Paix
a half empty glass of vin blanc on the table
happy for another as we are of the first

and talk
of a new book—Songs in Midwinter for Franco
Franco Beltrametti.

Ian Brinton 16th March 2016

Tears in the Fence 62

Tears in the Fence 62

Tears in the Fence 62 is now available from https://tearsinthefence.com/pay-it-forward and features poetry, fiction and essays from Simon Smith, Nancy Gaffield, Patricia Debney, Andy Fletcher, Michael Farrell, John Freeman, Afric McGlinchey, Anamaria Crowe Serrano, Anamaria Crowe Serrano & Robert Sheppard, Sarah Connor, Samuel Rogers, Rose Alana Frith, Michael Grant, Charles Hadfield, Mike Duggan, Dorothy Lehane, Vicki Husband, Hilda Sheehan, Andrew Darlington, David Miller, Karl O’Hanlon, Amy McCauley, Rupert Loydell & Daniel Y Harris, Sam Smith, Rodney Wood, David Greenslade, Lesley Burt, L.Kiew, Graheme Barrasford Young, Andrew Lees, Michael Henry, James Bell, Rhys Trimble, Sophie McKeand, Haley Jenkins, Alexandra Sashe-Seekirchner, Richard Thomas, Alec Taylor and Steve Spence.

The critical section consists of David Caddy’s Editorial, Anthony Barnett’s Antonym, Jennifer K. Dick’s Of Tradition & Experiment XII, Alan Munton on Steve Spence, Andrew Duncan on Kevin Nolan’s Loving Little Orlick, David Caddy on Gillian White’s Lyric Shame, Robert Vas Dias on Jackson Mac Low, Laurie Duggan on Alan Halsey, Chris McCabe on Reading Barry MacSweeney, Mandy Pannett on Angela Gardner, Mary Woodward, Ric Hool on Ian Davidson, William Bonar, Steve Spence on John Hartley Williams, Linda Benninghoff on Beauty is a Verb: The New Poetry of Disability, Notes On Contributors
and Ian Brinton’s Afterword.

21st September 2015

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