Talks and Readers at Kingston University!

R and R - Humanities Research and Reading Series

2011 CALENDAR OF EVENTS

WEDNESDAYS AT PENRHYN ROAD CAMPUS

ALL EVENTS IN JG0002, JOHN GALSWORTHY BUILDING

KINGSTON UNIVERSITY

FEBRUARY 2011

WEDNESDAY 9 – Tim Walker (4 pm)/ Max Saunders (6-8 pm)

WEDNESDAY 16 – Kingston Poets Liz Berry, Kayo Chingonyi, Fiona Curran, Vahni Capildeo (4-6 pm)

WEDNESDAY 23 – Cathy Gale – Suburban Design (4 pm)/ Melissa Mann, Adelle Stripe,Vedrana Velickovic (6-8 pm)

MARCH 2011

WEDNESDAY 2 – China Mievelle (4-6 pm)/ Daisy Goodwin (6-8 pm)

WEDNESDAY 9 – Bernardine Evaristo (6-8 pm)

WEDNESDAY 16 – Debbie Cameron (4 pm)/ David Lehman (6-8 pm)

WEDNESDAY 23 - Eadaoin Agnew (4-6 pm)/ Denise Riley (6- 8 pm)

WEDNESDAY 30 – (4-6 pm) Don Share and Jacquelyn Pope

ALL WELCOME; ADMISSION FREE; REFRESHMENTS SERVED

Comments

Dennis Tomlinson said…

I think I will drag myself out of darkest Hertfordshire for some of this!

Wed Feb 02, 04:48:00 pm 2011

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....

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 ...

Guest Review: Curtis On Price

Abi Curtis reviews Rays by Richard Price Last year a talented poet friend of mine was short-listed for the Michael Marks pamphlet award and I went along to hear her and the other contenders read. Richard Price gave a wonderful speech about the importance of the pamphlet as a form for poetry, its great tradition of showcasing a poet’s work, the fact that the pamphlet has a sense of limitation, distilment, condensation that makes it quite distinctive. Price is a champion of the form and some of the nine sections in Rays began their lives as limited edition pamphlets. Though the sections have subtle, echoing relationships between one another, there is a sense of each as a particular poetic space. This is a particular strength of the collection, allowing it to feel startlingly fresh and alive, but also because the reader gets the sense of a poet that is interested in poetry as a collaborative endeavour. Pamphlets are lovingly created and this is a collective process, they are often the ...

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