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Mariangela
Ian SeedThree texts
Rupert M LoydellVessel
Melita SchaumSome Guts
Simon Collings (with collages by John Goodby)Three Short Fictions
Meg PokrassThe Campus Novel
Peter RobinsonCharlie Boy and Captain Fitz: A One-Act Play
Alan WallSnapshot, Sachsenhausen and three more poems
Peter BlairSeven short poems
Lucian Staiano-DanielsFour prose poems
Olivia TuckThe Back of Beyond and two more prose poems
Tony KittTwo poems
Moriana Delgadofrom Reverse | Inverse
Lucy HamiltonSix haibun
Sheila E. MurphyKingfishers and cobblestones and five more new poems
Kitty HawkinsZion Offramp 76–78
Mark ScrogginsCome dancing with me and two more new poems
Marc VincenzPlease swipe right
Chloe Phillips‘Three Postcards’ and a prose poem
Linda BlackStill life
Melita SchaumIn memory of
John Taylor with drawings by Sam ForderImmortal wreckage
Will StoneNew in Translation
Snowdrifts
Marina Tsvetaeva, trans. by Belinda CookePoems from Prière (1924)
Pierre Jean Jouve, trans. by Will StoneSix prose poems
Pietro di Marchi, trans. by Peter RobinsonThe goddess of emptiness.
Jean Frémon, trans. by John Taylor -
A new Review of John Matthias’s Some Words on Those Wars by Garin Cycholl.
Anthony Howell’s review, A Clutch of Ingenious Authors: Michelene Wandor Four Times EightyOne: Bespoke Stories | Annabel Dover Florilegia | Sharon Kivland Abécédaire
Essays by Alan Wall
· ‘King of Infinite Space’: The Virtue of Uncertainty
· AI: Signs of the Times
· The Lad from Stratford
· Stanley Kubrick: Sex in the CinemaWill Stone’s Missing in Mechelen and At Risk of Interment
G. Kim Blank’s Civilizing, Selling, and T. S. Eliot Curled Up behind the Encyclopædia Britannica
Tronn Overend’s Samuel Alexander on Beauty
AND Conor Robin Madigan’s Master Singer, Simon Collings’s Robert Desnos, Screenwriter, and Igor Webb’s Never Again
Simon Collings, Carrying the past: The Afterlight by Charlie Shackleton.
New Fortnightly Serials
from The Runiad
Anthony Howellfrom White Ivory
Alan Walland much more below this column.
Departments
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Contact the Editors here.
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Audio archive: Two poems, with an audio track, from Heart Monologues by Jasmina Bolfek-Radovani | Daragh Breen’s Aural Triptych | Hayden Carruth reads Contra Mortem and Journey to a Known Place | Anthony Howell reads three new poems | James Laughlin reads Easter in Pittsburgh and five more | Peter Robinson reads Manifestos for a lost cause, Dreamt Affections, Blind Summits and Oblique Lights
Previous Serials
2011: Golden-beak in eight parts. By George Basset (H. R. Haxton).
2012: The Invention of the Modern World in 18 parts. By Alan Macfarlane.
2013: Helen in three long parts. By Oswald Valentine Sickert.
2016: The Survival Manual by Alan Macfarlane. In eight parts.
2018: After the Snowbird, Comes the Whale, by Tom Lowenstein.
LONDON
Readings in The Room: 33 Holcombe Road, Tottenham Hale, London N17 9AS – £5 entry plus donation for refreshments. All enquiries: 0208 801 8577
Poetry London: Current listings here.
Shearsman readings: 7:30pm at Swedenborg Hall, 20/21 Bloomsbury Way, London WC1. Further details here.NEW YORK
10 reliable poetry venues in NYC.
· The funeral of Isaac Albéniz
· Coleridge, poetry and the ‘rage for disorder’
· Otto Rank
· Patrons and toadying · Rejection before slips
· Cut with a dull blade
· Into the woods, everybody.
· Thought Leaders and Ted Talks
· How Mary Oliver ‘found love in a breathing machine.’
AND read here:
· James Thomson [B.V.]
A dilemma for educators:
Philosophy and the public impact.
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Michelene Wandor on Derek Walcott and the T.S. Eliot Prize.
.Nick Lowe: the true-blue Basher shows up for a friend.
Anthony Howell: The new libertine in exile.
Kate Hoyland: Inventing Asia, with Joseph Conrad and a Bible for tourists.
Who is Bruce Springsteen? by Peter Knobler.
Martin Sorrell on John Ashbery’s illumination of Arthur Rimbaud.
The beauty of Quantitative Easing.
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Posthuman and categorically nebulous art writing.
A Fortnightly Review
These Wonderful Spring Days
by Jeremy David Stock
Repress | 100 pp | £10.00 $15.00
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By MICHAEL HAMPTON.
[This is] a book that delves into outer rather than inner space, oneiric rather than factual, but always driven by a desire to be free of intractable problems.
From then on, the suites follow in chronological order. Stock now lives in Melbourne and is a successful graphic designer, but in the late 1970s (during the worst years of Peter Sutcliffe’s evil campaign of murder) he was a student at Leeds Polytechnic, taught by the counter-cultural painter/poet and People Show founder Jeff Nuttall. In “The Solid State Universe” he describes a room where a chest of drawers has been moved, leaving a slot “where the wallpaper is darker, its colours more intense” and a few scraps of paper are revealed “folded and squashed against the skirting board”. This demonstrates how Stock’s writing can also function as a mysterious script, schematic for a Mike Nelson-like installation, or celestial film score in some instances, perhaps the ghosts of unrealised art projects finally being exorcised? Ultimately though TWSD is a book that delves into outer rather than inner space, oneiric rather than factual, but always driven by a desire to be free of personal hang ups and intractable problems, free to travel telekinetically, and in Brett Easton Ellis’s unforgettable phrase “disappear here”.
Stock’s voice scours life, navigating a theoretical field in case there might be a gift overlooked in dreams…
Here he adopts the role of neo-virtuoso, dabbler, hobbyist, minor poet pursuing a relentless Parmenidean investigation without any obvious telos apart from the softback covers binding his complex suites of writing. His voice scours life, navigating a theoretical field in case there might be a reward at the end of the night, or rather a gift overlooked in dreams, a surprise payoff in the form of an afterlife or cosmic time travel. The book’s full-bleed cover photograph of a NASA Hubble space telescope view into a stellar breeding ground in 30 Doradus in the Tarantula Nebula signposts the interdisciplinary, categorically nebulous identity of TWSD. Published by Re-press.org, predominantly an academic philosophy imprint, its credentials as both a piece of distilled art writing with sublime timbres, and an adaptation to deal with information overload and political turbulence place it among a growing corpus of important posthuman literature, such as Margaret Atwood’s The Year of the Flood (2009), and Daisy Hildyard’s The Second Body (2017); a distant cousin to his old tutor Jeff Nuttall’s iconic account of the 1960s: Bomb Culture (1968).
Michael Hampton is a writer and critical theorist based in London with a special interest in artists’ publishing. He has contributed to many magazines and journals including The Blue Notebook, Frieze, Geschichte, The Penguin Collector’s Journal, Rapport, Schizm, /Seconds and The White Review. He writes regularly for Art Monthly and in 2015 his revisionist history Unshelfmarked: Reconceiving the Artists’ Book was published by Uniformbooks. Sharon Kivland recently published his speculative essay “Beyond Walter Benjamin’s Paris & Kenneth Goldsmith’s New York” as a limited edition in her series The Good Reader: Beyond Walter Benjamin’s Paris & Kenneth Goldsmith’s New York (Anagram Books). He is currently working on a collection of psychogeographical writings about London.
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Publication: Monday, 1 October 2018, at 22:45.
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