Skip to main content

Marksist Literature

Eyewear often claims there are too many prizes, a little too much hot air in the establishment - but the Marks Awards seem genuinely progressive, supportive, and innovative, and actually do something helpful - support small presses and those most ephemeral of publications, pamphlets of poetry.  Here's an excerpt from the recent press release; especially glad to see Tom's book there, reviewed recently at this blog:

"The British Library today announces the shortlists for the Michael Marks Awards for Poetry Pamphlets in partnership with the Poetry Book Society and with the generous support of the Michael Marks Charitable Trust. In their second year, the Awards celebrate the importance of the pamphlet form in introducing new poetry to readers in the internet age.


Michael Marks Poetry Award

Poetry pamphlet shortlist

The Terrors, Tom Chivers (Nine Arches Press). Eighteenth century hangman narratives... conducted by email.

The Titanic Café closes its doors and hits the rocks, David Hart (Nine Arches Press). An elegy to a café in Birmingham that no longer exists, this single poem is collage, song, and paean in one.

Advice on Wearing Animal Prints, Selima Hill (Flarestack Poets). A disconcerting tragicomedy told across the letters of the alphabet - this story follows the life of its idiosyncratic heroine Agatha.

Devorgilla’s Bridge, Hugh McMillan (Roncadora Press). This single fold-out poem, beautifully complemented by a linocut by Hugh Bryden, is devoted to what is said to be Scotland’s oldest bridge: ‘an astronaut in stone’.

The Reluctant Vegetarian, Richard Moorhead (Oystercatcher Press). This pamphlet is a wry and sensual cross between a medieval herbal, a farmer’s calendar and an English dictionary.

ballast: a remix, Nii Ayikwei Parkes (tall-lighthouse). A breathtaking account of slavery told through near sci-fi effects: imagine the slave trade had operated through hot air balloons rather than ships.

The shortlist was judged by novelist Ali Smith, poet Jo Shapcott and Richard Price, poet and Head of Modern British Collections at the British Library, for an outstanding work of poetry published in pamphlet form in the UK during 2009."

Comments

Popular posts from this blog

A  poem for my mother, July 15 When she was dying And I was in a different country I dreamt I was there with her Flying over the ocean very quickly, And arriving in the room like a dream And I was a dream, but the meaning was more Than a dream has – it was a moving over time And land, over water, to get love across Fast enough, to be there, before she died, To lean over the small, huddled figure, In the dark, and without bothering her Even with apologies, and be a kiss in the air, A dream of a kiss, or even less, the thought of one, And when I woke, none of this had happened, She was still far distant, and we had not spoken.

Poetry vs. Literature

Poetry is, of course, a part of literature. But, increasingly, over the 20th century, it has become marginalised - and, famously, has less of an audience than "before". I think that, when one considers the sort of criticism levelled against Seamus Heaney and "mainstream poetry", by poet-critics like Jeffrey Side , one ought to see the wider context for poetry in the "Anglo-Saxon" world. This phrase was used by one of the UK's leading literary cultural figures, in a private conversation recently, when they spoke eloquently about the supremacy of "Anglo-Saxon novels" and their impressive command of narrative. My heart sank as I listened, for what became clear to me, in a flash, is that nothing has changed since Victorian England (for some in the literary establishment). Britain (now allied to America) and the English language with its marvellous fiction machine, still rule the waves. I personally find this an uncomfortable position - but when ...

IQ AND THE POETS - ARE YOU SMART?

When you open your mouth to speak, are you smart?  A funny question from a great song, but also, a good one, when it comes to poets, and poetry. We tend to have a very ambiguous view of intelligence in poetry, one that I'd say is dysfunctional.  Basically, it goes like this: once you are safely dead, it no longer matters how smart you were.  For instance, Auden was smarter than Yeats , but most would still say Yeats is the finer poet; Eliot is clearly highly intelligent, but how much of Larkin 's work required a high IQ?  Meanwhile, poets while alive tend to be celebrated if they are deemed intelligent: Anne Carson, Geoffrey Hill , and Jorie Graham , are all, clearly, very intelligent people, aside from their work as poets.  But who reads Marianne Moore now, or Robert Lowell , smart poets? Or, Pound ?  How smart could Pound be with his madcap views? Less intelligent poets are often more popular.  John Betjeman was not a very smart poet, per se....