Skip to main content

Poetry Renaissance?

The Renaissance will be facebooked - or rather, media-led, anyway.  Ho-hum.  When newspapers are not proclaiming the death of poetry, they are constantly rediscovering it.  Since poets know poetry is always there, like the sun or the nose on one's face, this hokum from both sides is a little tiresome.  Poetry is that which simply endures.  It isn't like herpes, a flare-up from time to time.  So it is the latest article in Saturday's Guardian celebrates the renaissance of poetry - without, this time, the sombre face of Don Paterson glowering out at us.

The best thing about this article is that it mentions the small presses that have done so much to help younger poets find a footing.  The fact that a prize has gone to poets two years in a row is a coincidence, not a sign of the times.  The truth is, poetry in the UK is embedded, too-much, in prize culture, and marketing.  Too often, a simple truth is obscured: poetry is beyond publication or acclaim - it persists despite that.  A good poem is a good poem wherever it appears, online or between the pages of a flimsy pamphlet.  For many UK readers, a poet only comes into their own if published by a big press like Picador or Faber - is "made" then, like a starlet signing with a studio.  Otherwise, poets are like "actors out on loan" - sort of lost, dogs without a bone.  I know this first-hand.

Without a large publisher in the UK, I rarely get invited to read at festivals (or anywhere) and am mostly off the map here, where I live; I am not alone - hundreds of very good poets published by smaller presses without a prize or nomination, float in a sort of limbo of mild disregard, or mild regard.  Indeed, most Canadian, American, New Zealand, Australian, Indian and South African poetry, in English, is off the radar of the British reader, poetry scene, and media - the full global good news ignored.

The TS Eliot Prize celebrates the best British-published books, and so includes some international poets, but leaves out many more.  This is not meant to be a rant.  I am relatively happy here.  The British love poetry in ways that North Americans don't.  I like that.  But please - this island is too parochial still, too self-describing, to fully embrace the differences and aspects from abroad that are also part of the larger 21st century poetry renaissance - one that started not this year, when The Guardian chose to notice it, but really around the time of the rise of Facebook, or earlier, perhaps in 2003.

As it happens, I believe this generation of younger British poets is the best in over half a century.  They will become better still if they redefine the structures that currently reward and judge them, and open out publishing options further.  The top three books of the British year, in terms of accolades and critical praise, by Heaney, Walcott, and Shapcott - all superb collections - were published by the major press for poetry.  One needs to start asking - what else is out there?

Popular posts from this blog


Like a crazed killer clown, whether we are thrilled, horrified, shocked, or angered (or all of these) by Donald Trump, we cannot claim to be rid of him just yet. He bestrides the world stage like a silverback gorilla (according to one British thug), or a bad analogy, but he is there, a figure, no longer of fun, but grave concern.

There has long been a history of misogynistic behaviour in American gangster culture - one thinks of the grapefruit in the face in The Public Enemy, or Sinatra throwing a woman out of his hotel room and later commenting he didn't realise there was a pool below to break her fall, or the polluted womb in Pacino'sScarface... and of course, some gangsta rap is also sexist.  American culture has a difficult way with handling the combined aspects of male power, and male privilege, that, especially in heteronormative capitalist enclaves, where money/pussy both become grabbable, reified objects and objectives (The Wolf of Wall Street for instance), an ugly fus…


According to the latest CBS, ABC, etc, polls, Clinton is still likely to beat Trump - by percentile odds of 66% to 33% and change. But the current popular vote is much closer, probably tied with the error of margin, around 44% each. Trump has to win more key battleground states to win, and may not - but he is ahead in Florida...

We will all know, in a week, whether we live in a world gone madder, or just relatively mad.

While it seems likely calmer heads will prevail, the recent Brexit win shows that polls can mislead, especially when one of the options is considered a bit embarrassing, rude or even racist - and Trump qualifies for these, at least.

If 42-45% of Americans admit they would vote for Trump, what does that say about the ones not so vocal? For surely, they must be there, as well. Some of the undecided will slide, and more likely they will slide to the wilder and more exciting fringe candidate. As may the libertarians.

Eyewear predicts that Trump will just about manage to win th…


Announcing the Shortlist for the 2016 Sexton PrizeSeptember 13, 2016 / By Kelly Davio
Eyewear Publishing is pleased to announce the shortlist for the 2016 Sexton Prize. The finalists are, in no particular order, as follows:

HISTORY OF GONE, Lynn Schmeidler
SEVERE CLEAR, Maya Catherine Popa
SIT IN THE DARK WITH ME, Jesse Lee Kercheval

The shortlist was selected by Eyewear’s Director Todd Swift with Senior Editor Kelly Davio. Don Share of Poetry Magazine will select the winning manuscript, which will be released at the 2017 AWP conference in Washington, D.C. The winner will be announced in October. 
Congratulations to our finalists!