POETRY, POLITICS, PROVOCATION AND POPULAR CULTURE SINCE 2005
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Poetry at The Rose sponsored by Eyewear: Stone & Irving!
14/03 - 20:00 to late ROSE THEATRE, KINGSTON
Brand new event : MOSAIC brings you the finest in music,
art, comedy, poetry, dance and theatre... a mish mash melting pot of special
performances drawn from far and wide!
Poetry presented by EYEWEAR ~ at 20:30-21:00
JON STONE was born
in Derby and currently lives in Whitechapel. His collection School of Forgery
(Salt, 2012) was a Poetry Book Society Recommendation and also won him an Eric
Gregory Award. He has also edited and published multiple small and large poetry
anthologies through Sidekick Books, the press he co-runs, including the Birdbook
series and the forthcoming Coin Opera 2, an anthology of computer game
KIRSTEN IRVING is one
half of the team behind cult hand-made magazine Fuselit and collaborative poetry
press Sidekick Books. Her pamphlet, What To Do, was released in 2011 by
Happenstance Press and her debut collection, Never Never Never Come Back, was
published in 2012 by Salt Publishing. She won the Live Canon poetry prize in
2011 and currently works as a freelance copywriter and proofreader with the
collective Copy That.
Taste is a matter of opinion - or so goes one opinion. Aesthetics, a branch of pistols at dawn, is unlikely to become unruffled and resolved any time soon, and meantime it is possible to argue, in this post-post-modern age, an age of voter rage, that political opinion trumps taste anyway. We like what we say is art. And what we say is art is what likes us.
Simple Minds - the Scottish band founded around 1977 with the pale faces and beautiful cheekbones, and perfect indie hair cuts - comes from a time before that - from a Glasgow of poverty and working-class socialism, and religiosity, in a pre-Internet time when the heights of modernity were signalled by Kraftwerk, large synthesisers, and dancing like Bowie at 3 am in a Berlin club.
To say that early Simple Minds was mannered is like accusing Joyce of being experimental. Doh. The band sought to merge the icy innovations of German music with British and American pioneers of glam and proto-punk, like Iggy Pop; their heroes were contrived,…
With the death of the poetic genius John Ashbery, whose poems, translations, and criticism made him, to my mind, the most influential American poet since TS Eliot, 21st century poetry is moving into less certain territory.
Over the past few years, we have lost most of the truly great of our era: Edwin Morgan, Gunn, Hill, Heaney and Walcott, to name just five. There are many more, of course. This is news too sad and deep to fathom this week. I will write more perhaps later.
I had a letter from Ashbery on my wall, and it inspired me daily. He gave me advice for my PhD. He said kind things about a poetry book of mine.
He was a force for good serious play in poetry, and his appeal great. So many people I know and admire are at a loss this week because of his death. It is no consolation at present to think of the many thousands of living poets, just right now. But impressively, and even oddly, poetry itself seems to keep flowing.