The Tiger’s Tail
28 October 2011
The Talking Cure
The Tiger’s Tail
28 October 2011
The Talking Cure
|Since this plea was published at The Bogman’s Cannon, I have been notified that one Irish University has been creating a collection of audio poetry. This was brought to my attention via comments under the original posting. Please check out the Seamus Heaney Centre Digital Archive & The Queen’s University, Belfast, Archives.|
The Electronic Poetry Center (U.S) was founded in 1995. UBUWEB was founded by Kenneth Goldsmith in 1996, it is an audio archive housing avant-garde works including visual, concrete and sound poetry, UBU also holds film files. PENNSound was founded in 2003. To date, one Irish University has made a step towards providing accessible poetry archives in Ireland. Poetry Ireland has not gone an inch toward increasing accessibility to Irish audio poetry. Why is this? Whatever way we choose to look at this situation, we can see that despite the tourist push on arts here. Ireland is one to two generations behind best practice in the area of accessibility to audio poetry. We focus on pushing a few poets (mainly to the American market) and beneath the colossus-like feet of the Yeats, the Muldoons, the Heaneys, and the presidential poets, the green shoots are strangled and lacking in sunlight. I try very hard to understand why the academic and poetic establishment have such a narrow and untrusting vision of contemporary poetry, and I cannot conclude but that it represents a ‘business’ approach to the arts. A conservative fear of being ‘found out’ for this lack has promoted a culture of safety, a critique grounded in a narrowly defined ideology that has destroyed at least a generation of young writers. Some poetry audio does exist via the Seamus Heaney Centre, or maybe hidden in the pages of the Irish National Broadcaster’s site. Even then they can be found scattered about the corridors of Youtube. This thinly scraped and scrappy approach to poetry audio illumines a lacklustre approach to the art which is just short of disrespect.
Poetry readers and writers are poorly served by critics who do not understand form, managers who do not understand process, and overweening established poets who feel that they must stand between the reader and the work. The reader of poetry is distrusted, is considered immature in their encounter with the poem! There is a contemporary poetry and it is thriving but it lacks good infrastructure Vis experimental spaces for emergent writers and the provision of audio spaces where we (the reader) can find poets like O’Driscoll or Ní Dhomhnaill speaking of their work and their interest in the process of creation. The fact that a new generation of emergent writers must await vehicles like Poetry Ireland Introductions to find an audience stinks of a paternalistic approach to poetic works that sees a few dominant poets stand between the reader and the work, as if it were radioactive.
The Irish poetry audience is not remedial and they like to go searching, hence they will go to where accessibility is respected; to UBUWEB, to PENNSound, to Jacket2, or to The Electronic Poetry Center. I suppose that the difference between these places and the half-assed Irish approach to providing good accessible infrastructure and experimental workspaces to Irish poets, is that the nous necessary to set up spaces wherein poetry can grow and develop its audience is driven by the poets themselves who understand how to bring on the next generation rather than suppressing them! As an example of poorly thought out approaches to writerly encouragement, Poetry Ireland deleted its 12 year old forum in 2013, taking with it a space where poets did peer reviews and experimented with form. There was no portability to the archives, and the remaining poets had to go in and copy everything to archive it elsewhere.
Here are some ideas regarding accessibility and archive that might interest working poets.
There is a singular lack of cohesive thought given to platforming a generation of writers. There is a shabby merry-go-round approach to platforming the same 6-7 poets as representative of Irish poetry internationally, it is embarrassing. The looming gap in how we present poetry here, especially to our disregard for women poets is wrong, really wrong. Half of the poets we push have been dead years. Recently on St. Patrick’s Day the same bunch of poets were pushed out to represent Irish writing. In my opinion people will just stop listening as ossification sets in. The guardians of poetry do a generation of poets a disservice with their ego-trips and their lack of support to young poets, as my grandmother said fur coat, no knickers; we are all shop front, a tawdry mess.
The Garden of the Fugitives
Knitting a Father from Nettles
|Annette Skade is an award-winning poet, and teacher, living and writing on the Beara peninsula on Ireland’s south-west coast. Her first collection Thimblerig was published following her receipt of the Cork Review Literary Manuscript prize in 2012.
She has a degree in Ancient Greek and Philosophy from Liverpool University and she has just completed an MA in Poetry Studies from Dublin City University, where she read everything from Anne Carson to the York Mystery Plays, Elizabeth Bishop to Maurice Scully.
Her poems have recently appeared in the SHOp poetry magazine, Abridged and the Cork Literary Review .
Kitchen Maid with the Supper at Emmaus, by Diego Velasquez (1617-1618)
For Máire Holmes
Through the serving hatch, or silent butler,
The bowl, which is falling from the table,
With it, no doubt, the contents of the mortar;
Circumnavigating the room, bread breaks to thunder clap,
An unseen yellow dwarf, over one million KMs
Such are the scientific facts behind revelation.
And, such is how a particular convent in Seville
Although these astonishing figures only in part explain
Janus- His Mistress Responds
“O man magicked Evil with the first pelvic thrusts,
And Agamemnon Dead
The ovarian arms is the true embrace of all
Plato is truly the author to be despised,
Around the two burn the Herakleteon fire,
Through the equalling stratagem of the walk,
Janus- His Mistress Responds and other poems are © Peter O’Neill from Dublin Gothic (Kilmog Press, 2015)
|Peter O’ Neill (1967) was born in Cork where he grew up before moving to live in France in the nineties. He returned to Dublin in 1998, where he has been living ever since. He has been writing poetry since the eighties, and has been published in reviews in Ireland, USA, UK and France. His debut collection Antiope (Stonesthrow Poetry, 2013) was critically acclaimed: ‘certainly a voice to be reckoned with.’ Dr Brigitte Le Juez (Dublin City University). With over six collections behind him, he is currently translating Les Fleurs Du Mal. His second collection ‘The Elm Tree’ was published by Lapwing Press in 2014.|
… she believed she existed only
Scent of a Woman (Echolalia)
|Jennifer Matthews writes poetry and is editor of the Long Story, Short Journal. Originally from Missouri, USA she has been living in Ireland for over a decade, and is a citizen of both countries. Her poetry has been published in, or is forthcoming from Banshee, Poetry International — Ireland, The Stinging Fly, Mslexia, The Pickled Body, Burning Bush 2, Abridged, Revival, Necessary Fiction, Poetry Salzburg, Foma & Fontanelles, and Cork Literary Review, and anthologised in Dedalus’s collection of immigrant poetry in Ireland, Landing Places (2010). In 2015 she was selected for the Poetry Ireland Introductions Series. A chapbook of her poetry, Rootless, is available to read free online at Smithereens Press.
Thanks to Tom and Eve O’Reilly at Deep Water Literary Journal for publishing ‘bind’. The new DWLJ is online now and it is well worth a visit. I am adding here a link to Tom D’Evelyn’s blog. Tom wrote about the ideas in ‘bind’. I am, and have been very grateful to Tom who has written so graciously about my work for sometime now. Poets require readers who react to and understand the work, especially when the work is inherently about teasing out the image. ‘Bind’ is from a book in progress that is divided into four main sections, Boundaries, Babel, Wintering, and Park and Corridor. It is a winter book.
|Susan Connolly’s first collection of poetry For the Stranger was published by the Dedalus Press in 1993. She was awarded the Patrick and Katherine Kavanagh Fellowship in Poetry in 2001. Her second collection Forest Music was published by Shearsman Books in 2009. Shearsman published her chapbook The Sun-Artist: a book of pattern poems in 2013. She lives in Drogheda, Co. Louth.|
|There is an interest for women poets in how media presents electoral processes like the recent Oxford Professor of Poetry appointment. Just as there is an interest in how media views poetry generally.
“I would like to see something different at the next election. I would like to see the media discussing women poets and the benefits that they can bring to the chair, and how their role can influence emerging women poets. I feel that this can be achieved by speaking to women candidates with intelligence and not utilising them as filler material in your ossified view of what poetry is.” (VIDA)
If the media is incapable of challenging sexism in poetry, is uninterested in the academic perception of poetry as a male preserve, or indeed in the low review numbers of books by women poets that occur in their newspapers, then what happened at Oxford will continue to occur intermittently and that my friends is just boring.
choppy Irish Sea
A Train Hurtles West
All through the Night:
|Maeve O’Sullivan works as a media lecturer in the further education sector in Dublin. Her poems and haiku have been widely published and anthologised since the mid-1990s, and she is a former poetry winner at Listowel Writer’s Week. Initial Response, her debut collection of haiku poetry, also from Alba Publishing, was launched in 2011, and was well-received by readers and critics alike. Maeve is a founder member of Haiku Ireland and the Hibernian Poetry Workshop. She also performs at festivals and literary events with the spoken word group The Poetry Divas. Her poem Leaving Vigo was recently nominated for a Forward Prize for a Single Poem by the Limerick-based journal Revival.|
The Last Childbearing Years
Deliciously, all that we might have been,
|Lindsey Bellosa lives in Syracuse, NY. She has an MA in Writing from the National University of Ireland, Galway and has poems published in both Irish and American journals: most recently The Comstock Review, The Galway Review, Poethead, Flutter Poetry Journal, Emerge Literary Journal and The Cortland Review. Her first full length collection was recently longlisted for the Melita Hume Poetry Prize.
“Birth Partner” and other poems by Lindsey Bellosa
The House of God
we came into being
we are at the house of earth
Poeta pirata est
I should be a phoenix
I should see the tips of my horizon
never I wish
since I came here
Woman The wind is blowing that sweeps the sand around words Everybody is calling God! I am taking myself from inside and putting it out with my hands. I am the place where human-being is less God is more.
Phoenix and other poems are © Müesser Yeniay
|MÜESSER YENİAY was born in İzmir, 1984; she graduated from Ege University, with a degree in English Language and Literature. She took her M.A on Turkish Literature at Bilkent University. She has won several prizes in Turkey including Yunus Emre (2006), Homeros Attila İlhan (2007), Ali Riza Ertan (2009), Enver Gökçe (2013) poetry prizes. She was also nominated for a Pushcart Prize by Muse Pie Press in USA.
Her first book Darkness Also Falls Ground was published in 2009 and her second book I Founded My Home in the Mountains a collection of translation from world poetry. Her second poetry book I Drew the Sky Again was published in 2011. She has translated the poems of Persian poet Behruz Kia as Requiem to Tulips. She has translated the Selected Poems of Gerard Augustin together with Eray Canberk, Başak Aydınalp, Metin Cengiz (2011). She has also translated the Personal Anthology of Michel Cassir together with Eray Canberk and Metin Cengiz (2011). Lately, she has published a Contemporary Spanish Anthology with Metin Cengiz and Jaime B. Rosa. She also translated the poetry of Israeli poet Ronny Someck (2014) and Hungarian poet Attila F. Balazs (2015). She has published a book on modern Turkish Avant-garde poetry The Other Consciousness: Surrealism and The Second New (2013). Her latest poetry book Before Me There Were Deserts was published in 2014 in İstanbul. Her poems were published in Hungarian by AB-Art Press by the name A Rozsaszedes Szertartasa (2015).
Her poems have appeared in the following magazines abroad: Actualitatea Literară (Romania), The Voices Project, The Bakery, Sentinel Poetry, Yellow Medicine Review, Shot Glass Journal, Poesy, Shampoo, Los Angeles Review of Books, Apalachee Review (USA&England); Kritya, Shaikshik Dakhal (India); Casa Della Poesia, Libere Luci, I poeti di Europe in Versi e il lago di Como (Italy); Poeticanet, Poiein (Greece); Revue Ayna, Souffle, L’oiseau de feu du Garlaban (France); Al Doha (Qatar); Tema (Croatia); Dargah (Persia).
The Anthologies her poetry appeared: With Our Eyes Wide Open; Aspiring to Inspire, 2014 Women Writers Anthology; 2014 Poetry Anthology- Words of Fire and Ice (USA) Poesia Contemporanea de la Republica de Turquie (Spain); Voix Vives de Mediterranee en Mediterranee, Anthologie Sete 2013 ve Poetique Insurrection 2015 (France); One Yet Many- The Cadence of Diversity ve ayrıca Shaikshik Dakhal (India); Come Cerchi Sull’acqua (Italy).
Her poems have been translated into Vietnamese, Hungarian, Croatian, English, Persian, French, Serbian, Arabic, Hebrew, Italian, Greek, Hindi, Spanish and Romanian. Her book in Hungarian was published in 2015 by AB-Art Publishing by the name “A Rozsaszedes Szertartasa” She has participated in the poetry festivals like Sarajevo International Poetry Festival, September 2010 (Bosnia-Herzegovina); Nisan International Poetry Festival, May 2011 (Israel); Belgrad International Poetry Festival, September 2012 (Serbia); Voix Vives International Poetry Festival (Sete), July 2013 (France); Kritya International Poetry Festival, September 2013 (India), Galati/Antares International Poetry Festival, June 2014 (Romania), Medellin International Poetry Festival, July 2014 (Colombia); 2nd Asia Pacific Poetry Festival 2015 (Vietnam).
Müesser is the editor of the literature magazine Şiirden (of Poetry). She is currently pursuing a Ph.D. in Turkish literature at Bilkent University, Ankara, and is also a member of PEN and the Writers Syndicate of Turkey.
More happy love! more happy, happy love!
—JOHN KEATS, Ode on a Grecian Urn
Women Improve With the Years
Always Sligo Rovers
and we remember
our pasts, our people returned to us for tonight—
Gym Poem #1
|Celeste Augé is the author of Skip Diving (Salmon Poetry, 2014), The Essential Guide to Flight (Salmon Poetry, 2009) and the collection of short stories Fireproof and Other Stories (Doire Press, 2012).
The World Literature Review said that “Celeste Augé’s poems are commendable for their care, deep thought, and intellectual ambition”, while the Anna Livia Review said that “Fireproof is a remarkably strong debut into the world of short stories and will begin to build what is undoubtedly going to be a strong readership for the author”.
Celeste’s poetry has been shortlisted for a Hennessy Award and she received a Literature Bursary from the Arts Council of Ireland to write Skip Diving. In 2011, she won the Cúirt New Writing Prize for fiction. She lives in Connemara, in the West of Ireland.
The Somnambulist Who Stood Still
Death by delirium
The num num num num num num num poem.
Bubble Butt Jew
Kate O’Shea lives in Dublin. Her chapbook Crackpoet is available on Amazon. She was short listed for the Cork Literary Review Poetry Manuscript Competition and the Patrick Kavanagh Award twice. She is widely published in journals abroad. Her latest publications were in The Seranac Review, Orbis, Cyphers, Outburst, and Prole. Most recently she has been nominated for a Pushcart Prize in America.
Eight new poems will be published later this year in three anthologies.
Invoking St Ciarán of Saigher
Put Out the Light
Lilacs from the Field of Mars
Bringing armfuls of lilacs from the Field of Mars
Your love, Lord reaches to heaven
I am on the roof this breezy day,
Above me are the chimneys –
I am a billowing blown crow
Sister brought me up the back stairs.
the nuns say, presaging a storm,
I am as high as the monkey puzzle,
Down below is the road I will walk
the nuns take me to the parlour
that I miss them, when all the while:
dry spider plants on the windowsills
up to Portrush and posts them there
I talk to my baby up here.
in either the making or getting of God
I mind my Granny saying
Who’ll help me when the time comes?
on the slate. The red bricks of the walls burn
First published in Poetry Ireland Review in 2007.
Audio Poetry by Maureen Boyle
|Maureen Boyle grew up in Sion Mills, County Tyrone and now lives in Belfast. She was awarded a UNESCO medal for poetry in 1979 when she was 18. She was runner-up in the Patrick Kavanagh Poetry Prize in 2004. In 2007 she was awarded the Ireland Chair of Poetry Prize and the Strokestown International Poetry Prize. She has been the recipient of various awards from the Arts Council of Northern Ireland – most recently an Artist’s Career Enhancement Award in 2011. In 2013 she won the Fish Short Memoir Prize and was shortlisted for the Fish Poetry Prize. She was a finalist in the Mslexia single poem competition in 2013 for a long memoir poem ‘Incunabula’ which was published in Germany this year. Her poem ‘Amelia’ was a BBCNI commission to mark the renovation of the Crown Bar in Belfast and was used in an art installation at the City Hall, Belfast in 2014, as part of the University of the Air Festival, marking 50 years of the Open University. Her poems have been published in The Honest Ulsterman, From the Fishhouse, Fortnight; The Yellow Nib; Poetry Ireland Review; Mslexia; and Incertus. She teaches in St Dominic’s Grammar School in Belfast and with the Open University. She lives in Belfast with her husband, the writer, Malachi O’Doherty.|
Charles Bukowski is my Dad
Pity the Mothers
Sylvia Plath You Are Dead
|Elaine Feeney is considered a leading part of political contemporary Irish writers. She was educated in University College Galway, University College Cork and University of Limerick. Feeney has published three collections of poetry Indiscipline (2007), Where’s Katie? (2010, Salmon) and The Radio was Gospel (2013, Salmon) Her work has been published widely in literary magazines and anthologies. She is currently working on a novel.
“Elaine Feeney is the freshest, most engaging and certainly the most provocative female poet to come out of Ireland in the last decade. Her poem ” Mass”, is both gloriously funny, bitter-sweet in the astuteness of its observations and a brilliant, sly window into the Irish female Catholic experience. Her use of irony is delicious. Her comments on the human condition, which run throughout her lines, are in the tradition of Dean Swift and she rightfully takes her place alongside Eavan Boland and Nuala Ni Dhomhnaill as a very, very important Irish voice.” Fionnuala Flanagan, California 2013 (Praise for The Radio was Gospel, 2013, Salmon)
“A choice collection of poetry, one not to be overlooked, 5 Stars” Midwest Book Review, USA, (Praise for Where’s Katie? 2010, Salmon Poetry).
Elaine Feeney saying Mass
Tír na nÓg
|Sarah O’Connor is originally from Tipperary. She studied in UCC and Boston College, and she now lives in Dublin. She previously worked in publishing and now works in politics. She is 34. She is working on her first novel and on a collection of poetry. She has been published by Wordlegs and The Weary Blues.
Sarah O’Connor blogs at The Ghost Station & tweets at @theghoststation.
Dancer, after Yinka Shonibare, ‘Girl Ballerina’
|Imogen Forster is a freelance translator, mainly of art history, from French, Italian, Spanish and Catalan. She translated one of the French volumes for the new edition of Vincent van Gogh’s Letters published by the Van Gogh Museum, Amsterdam, in 2009. She has published poems on-line, and in a number of magazines.|
AN INTERVIEW WITH KIMBERLY CAMPANELLO BY CHRISTINA SCHNEEKLOTH SJØGAARD
Kimberly Campanello was born in Elkhart, Indiana, and she now lives in Dublin and London. She has an MFA in Creative Writing, an MA in Gender Studies and she recently got a PhD in Creative Writing. She has written a pamphlet called Spinning Cities, which was published in 2011 by Wurm Press. She later wrote her first full-length poetry collection called Consent in 2013, published by Doire Press, and in 2015 her new collection of conceptual poetry MOTHERBABYHOME will be published by zimZalla. Also in 2015, Strange Country, her full-length poetry collection on the sheela-na-gig stone carvings will be published by The Dreadful Press. Campanello’s work is influenced by investigation of the society in Ireland from a multi-angled feministic viewpoint. Her poems are often of a highly political nature, and she seems to search for justice in an unjust society.
First of all, you have lived in different places in the United States, and now you live in Dublin and are often visiting London. Could you describe how the changing communities you have been a part of have influenced your writing, if so?
Living in different places has certainly influenced my work. Even when I lived in the US I was constantly moving – from Indiana to Alabama to Florida (west coast) to Ohio to Florida (east coast, very different from the west!). The differences among these locations prepared me for living in other countries. There is a tendency to think any given country or place is monolithic and predetermined – we have a sort of place-holder definition in our minds for what a location is. Only when we are there, and, I would argue, there in a very open way, do we note massive differences among people, interactions, expectations, politics, even within a square mile. A friend of mine, Dylan Griffith, who is also from the Midwest in the US and who is now a filmmaker in Los Angeles refers to the idea that as Midwesterners we are extremely flexible and adaptable because we have no distinct culture ourselves. We can easily live anywhere. They call our part of the US ‘flyover country’, and many Europeans and East or West coast Americans perceive us that way. However, to truly understand the American psyche, if there is such a thing, you’d have to understand its immense variation, which includes those lands and people you might normally ‘fly over’.
Which authors inspire you?
I’ve been influenced by the work of Etheridge Knight, H.D. and Susan Howe, all extremely different poets in terms of their approach, but all equally resonant for me. All three are ‘American’ poets approaching their work in different modes but with a similar core. Howe refers to her belief ‘in the sacramental nature of poetry’, which I think also applies to Knight and H.D., and which ultimately underpins my own work.
Much of your work has a sense of roughness about it, like when you write: “The number elevens on the necks/of hungry children. Tendons pushing/flesh at the base of the head. They record/the odds. One to one. A fifty-fifty/chance of making it out alive” in the poem “All Saint’s Day”. Why does this radical raw poetry interest you?.
I wouldn’t say it interests me as much as it seems necessary at the time of writing to create a certain imagery. Some of my poems do have a more familiarly lyric poetic approach: imagery and figurative language are emitted from a distinct poetic speaker. And my particular style of imagery does sometimes head into the rough, as you put it. However, other work definitely does not. Sometimes the imagery is deliberately muted in contrast to the subject, or sometimes the poem comes out of found text, sound poetry, visual poetry. I’m a magpie poet and refuse allegiances to schools (beyond the fact that I do feel more modernist than postmodernist). This belies the influences I’ve outlined above. I can use devastating imagery and a direct voice like Etheridge Knight. I can work on a vatic level like H.D. to create poems that feel like translations of recently discovered ancient texts, but which in fact are created from found text. I can manipulate and excavate an archive visually, like Susan Howe.
Actually, Irish language poet Aifric Mac Aodha recently translated a poem of mine into Irish for a large-scale project I’m working on (www.sacrumprofanumproject.com). This poem was created from a large archive of texts on the sheela-na-gigs, which I amassed over two years. When it’s translated into Irish, the poem sounds ancient. But this ancientness has a strange texture as it’s in modern Irish and some of the contemporary sensibilities in the English text have come across, of course. This process of translation after excavation can have a truly unexpected effect.
Do you consider your found poems to be ‘conceptual’? What is your opinion on conceptual poetry?
In the case of the found sheela-na-gig poems in Strange Country, I don’t see them as conceptual, rather I see them as re-assembled fragments resulting from the excavation of an archive. This excavation strives toward discovering and displaying something essential about the sheela-na-gigs that was previously hidden or submerged. I suppose the process I’ve just described is in itself a concept, but I don’t think that the concept is the driver here. The poem itself emerges from the text, as if from stone being carved
On the other hand, my book with zimZalla is conceptual, and concept is its driver. It will memorialise the 796 babies and children who died at the Bon Secours Mother and Baby Home in Tuam, Ireland. I will create a 796-page record-book as there are death records, but no burial records for these children, so no one knows where they are buried. The mother and baby homes operated in Ireland even as late as the second half of the 20th century. Women who became pregnant out of wedlock were sent there. Their children were often adopted by Irish or foreign families in what is reminiscent of a business transaction brokered by the church. In addition to this trauma, the conditions in these homes were horrific, which led to high rates of infant and child mortality, and a huge amount of suffering for the women. There are accounts of women in labour not being given pain relief by the church-run medical teams because they were meant to appease for their sexual sin. More on that story can be found here. So again, I use whatever tools or modes feel necessary.
Your poetry seems to draw on the unpoetic to a high degree, what is it about the unpoetic that fascinates you?
I’m not sure what is meant by poetic in the 21st century. I think that arguably the notion of the poetic as ‘beautiful’ never actually existed, or if so, only very briefly and not even consistently in the work of those poets who might have espoused it for a little while. Blood-and-guts battles, degradation, injustice, suffering – these tropes have occurred in poetry since the very beginning.
In addition to the question above, I have noticed the fairly frequent use of the word “cunt” in your poetry – what meaning does this word have to you, as a feminist? Do you see this word as a dirty word at all?
In the contexts in which I use it, it is, variously: a provocation, a pun, a cast-off remark, a spell, a descriptor. It is like any word a poet might use, but perhaps with more genealogy.
Is there anything, a feeling, a stance, that you especially want to awaken in your readers? Most of your work provides a critique of the society and human behaviour by means of a certain amount of irony; do you find irony more powerful than other tools of critique?
Irony does seem to be used in my poems in a critical mode as you say, one that’s most often meant to reveal some catastrophic failure in the dominant logic (or a lack of logic altogether). This happens in my poem ‘Birthing Stone’ through the juxtaposition of Doubting Thomas insisting on touching Jesus’s wounds with the Irish medical team insisting on checking for a foetal heartbeat before granting Savita Halapannavar a termination, a delay that resulted in her death. Jesus’s wounds are sometimes portrayed like a vulva or cervix in medieval paintings to evoke the idea that his suffering and death gave birth to the ‘new world’ of eternal life. Pretty ironic in this context.
I’m not sure irony is more powerful than other tools of critique, or whether poetry can sustain and systematically critique in the same ways political or philosophical writing can (or whether it should try to). Irony in my work is a kind of last-ditch effort that certainly won’t win anyone over on a rational basis. None of it is rational, certainly not a person dying for no reason. It follows poetic, figurative logic, rather than the logic you can bring into Parliament or even a political blog post. This can awaken something, I suppose, in some readers? I don’t know.
Your way of reading your poems is very characteristic and at some moments even reminiscent of sound poetry, where does this technique come from? Has there been any inspiration by sound poetry?
I’ve always been intent on the sound of poetry, on poets reading their work and on the reading or reciting of a poem as something quite specific. It’s a quasi-performance, and yet the poet should be out of the way of the poem. There is the phenomenon of the poet who doesn’t read their work very well, or of the poet who inflects all poems with that dramatic ‘poet voice’. An article has even been written on this recently: http://www.cityartsonline.com/articles/stop-using-poet-voice. What I’m aspiring to when I read most of my work is what is naturally in the poem as I composed it. This is why I often have problems with actors reading poems because they have little regard for things like linebreaks and rhythm embedded in the text.
When I was in high school, my friends and I made recordings of ourselves reading poems by Whitman, Rimbaud, Rilke, Celan and Ginsberg. We did a complete recording of Leaves of Grass on a cassette tape. Sometimes I would play records at the same time and distort or disrupt the poetry. This made sense at the time, but I’m not sure where I was getting the ideas. This was in the 1990’s, before the internet was such a vast resource, so I was piecing together an understanding of art, literature and music from an old-fashioned thing called a library card catalogue, as well as an amazing second-hand bookstore called The Bookstack in downtown Elkhart, Indiana, and whatever records and books various people in my family happened to have. My friends and I also jumped on the South Shore train to Chicago where I saw video installation for the first time at the Museum of Contemporary Art. I was not exposed to sound poetry per se until university where everything just opened up and it got so much easier to access everything both in libraries and digitally. I also trained as a musician. So I suppose all this culminates in how I read today.
Finally, are you looking forward to “Prague Microfestival” and could you perhaps reveal a little about what the audience can look forward to from your performance?
I’m very excited about the Prague Microfestival and grateful that Olga Pek invited me. I will be performing on the Sound Poetry evening. I will use my translation of the Hymn to Kali (an ancient tantric text written in Sanskrit). It’s quite a refined, H.D.-esque translation. It’s not sound poetry at all. The purpose of the performance will be to digest, degrade, distort and abjectify this translation all the way to the point of pure sound and then back to its original language, which is a very particular language indeed in the context of sound as the mantras themselves are meant to be actual vibrational presences of the gods/spiritual beings.
I will be performing with composer and guitarist Benjamin Dwyer. The guitar itself will also go through this same process. We will create a graphic aleatoric (semi-improvisational) musical score with text that we will use in the performance and which will be projected behind us.
The Prague MicroFestival (PMF) came about in an effort to resuscitate the Prague International Poetry Festival, which took place in 2004, a major undertaking on the scale of the Prague Writers’ Festival, with over 40 writers participating from over 20 countries (including Charles Bernstein, Andrej Soznovsky, Tomaz Salamun, Drew Milne, Jaroslav Rudis, Sudeep Sen, Anselm Hollo). Unlike the annual Writers’ Festival, the Prague International Poetry Festival was integrated into the local culture, with events in established local reading venues, with the aim of fostering dialogue among writers and audience members. PMF’s history dates back to April 2009, when a group of Australian poets (Pam Brown, Phil Hammial, Jill Jones, Mike Farrell) and Irish poets (Trevor Joyce, Maurice Scully) visited Prague thanks to funding from the Australia Council and Ireland’s Department of Foreign Affairs. Along with UK poet Kevin Noland and a group of local Czech and English-language writers, this combined week-long visit became the first MicroFestival. During the three years since that time, PMF has evolved into a major event on Prague literary scene and the only non-commercial literary festival of its size. Since 2011, PMF has entered into a partnership with the Czech poetry magazine Psí Víno and the publisher Petr Štengl, who has released the first anthology of Czech translations originated with the festival, Polibek s rozvodnou (2012).
The purpose of the PMF is to provide a forum for poetic exchange, an alternative to the existing Festival circuit which caters to primarily establishment writers with the inclusion of token Czech authors, and is commercially orientated. The PMF is run by artists, volunteers and students; all events are fully bilingual (English/Czech). The focus of PMF is threefold: to present writing that is innovative/experimental; writing that moves across genres and media (visual culture, music, film) and writing that could be broadly defined as “translocal”, that is, writing outside the confines of nationalism, pursuing a broadly cosmopolitan agenda. It aims to introduce new innovative approaches into the Czech milieu, as well as put Prague on the map of experimental world literature, show Prague as a re-emerging genuinely cosmopolitan centre, whose citizens from all backgrounds and nationalities are contributing to a vital and unique literary culture.
The PMF target audience is anyone with an interest in new writing, in experiment. This year the festival is being co-hosted by the magazines VLAK (in English) and Psí Víno (CZ), and will take place at Student Club Celetná, Celetná 20.
I think of the last time we met
You hid your distress well, John.
I think of you
Margaret, your Irish twin,
Later we went to the priest
We went to Eastbourne to bring you home.
Your mother couldn’t sleep,
Despite all the sadness
You had a photo in your wallet
What are the chances of bumping into you now, John?
On the way back
You were in the hold,
We arrived at Shannon
After the funeral mass
I think of you
‘It’s about John Diviney,’
The Mission is © Rita Ann Higgins
|Rita Ann Higgins was born in Galway. She has published ten collections of poetry, her most recent being Ireland is Changing Mother, (Bloodaxe 2011), a memoir in prose and poetry Hurting God (Salmon 2010). She is the author of six stage plays and one screen play. She has been awarded numerous prizes and awards, among others an honorary professorship. She is a member of Aosdána.
Rita Ann Higgins’s readings are legendary. Raucous, anarchic, witty and sympathetic, her poems chronicle the lives of the Irish dispossessed in ways that are both provocative and heart-warming. Her next collection Tongulish is due out in April 2016 from Bloodaxe.
the stress clinic it’s ok no one need know only negligible impending threat i’m going to leave you let healing happen i’m turning left into the coffee shop it’s easy like this one step one more comforting to sit even on seats slashed by spooks i can wait learn patience is learnt on the edge other worlds where others wait for the breath something that “presents” a hiatus between one distress and the nest you’re reluctant to leave it’s ok the world is out there still the density you love suspended in space preparing the next problem for you to solve you’re good at that talented are you ok? me too it’s just the acid sprung on a tensile in my stomach at ulica Freta, 16 – before radium or polonium the wood seeps into your bones in a room that lives as if its grain & whorls were part of your nervous system – smooth marrow – polished in your tea one lump, two meticulous the molecules contract till they disappear optical illusions have their own reality billowing on the balcony Poland is diluted Prussian Russian fission renames a people invents a purpose of its own but you can shut it out indomitable in a room that soon is rubble while thunder splits the summer partitions your future gladioli everywhere alert to your black dress alive your luggage waltzing in the street (originally published in Can-Can #2) modern art you’re slung rigid against the wall boxed in the past adroit your mouth apes bereft of tongue hoping to emit a word a silence, even something, anything of the side-tracked route you had to take from primitive iron lodged in some alpine nook through ism, to prism to plexiglass you’re waiting - aren’t you for me to gut you get the warm feel of your spasm when I tug on the spinal cord and watch you crumple to the ground crimson refusing to be pressed Taipei i wake my arms wrapped around the city legs enjamb- ed with its towers skyward /a formal composition/ silence /stylized/ flowers through its lights the smallness of them struck by shadowed stills the colour of cavities of not wanting to disturb /harmony respect/ 28 degrees at midnight slums unshimmering slumber the eye insists on definition colour resists /chaos v order/ could hang me it’s a hollow that isn’t black but marinated stinky tofu where the street light sizzles maybe it’s a smell a size the meaning of a name i can never forget /beautiful soup/ corrugated iron angles into place discreet /elegant/ blanketblue & rustroof red staggered across some great want where the revolution daubs its palette of scars
|the stress clinic, at ulica Freta, 16 – before radium or polonium & modern art are © Anamaría Crowe Serrano. Read Jezebel & Taipei (PDF)|
Anamaría Crowe Serrano is a poet and translator born in Ireland to an Irish father and a Spanish mother. She grew up bilingually, straddling cultures, rarely with her nose out of a book. Languages have always fascinated her to the extent that she has never stopped learning or improving her knowledge of them. She enjoys cross-cultural and cross-genre exchanges with artists and poets. Much of her work is the result of such collaborations. With a B.A. (Hons) in Spanish and French from Trinity College Dublin, Anamaría went on to do an M.A. in Translation Studies at Dublin City University. Since then, she has worked in localization (translating hardware and software from English to Spanish), has been a reader for the blind, and occasionally teaches Spanish. For over 15 years she has translated poetry from Spanish and Italian to English. Anamaría is the recipient of two awards from the Arts Council of Ireland to further her writing. Her translations have won many prizes abroad and her own poetry has been anthologised in Census (Seven Towers), Landing Places (Dedalus), Pomeriggio (Leconte) and other publications. She is currently Translations editor for Colony Journal: www.colony.ie.
Nocturne for Voices One and Two
Nocturne For Voices One and Two is © Christine Murray (Published in Outburst 15)
Outburst 15 Preamble by Dr. Arthur Broomfield.
Christine Murray is a Dublin-born poet. Her chapbook, Three Red Things was published by Smithereens Press, Dublin (June 2013). A collection Cycles was published by Lapwing Press (2013). A dark tale The Blind (Poetry) was published by Oneiros Books (2013). She a book-length poem was published by Oneiros Books (2014). Signature a chapbook was published by Bone Orchard Press (2014).
|It was with great sadness that I learnt of the death of Dr. Muireann Ní Bhrolcháin, Senior Lecturer of Early Irish (Sean-Ghaeilge), at the Centre for Irish Cultural Heritage at Maynooth University. Obituaries and remembrances are too formal a way to encapsulate the energies of the person who has passed away. What we may say about her on paper; on her authorship, her survivors, and her activities, pale in comparison to the ball of energy that she was. Muireann had a huge and warmly generous physical presence despite her tiny size. She was quite literally a ball of energy.
I first met Muireann Ní Bhrolcháin at the Four Courts, as one did during the campaigns that dominated the Celtic Tiger era. Protestors would be in and out of courts fighting on issues related to the complete destruction of any and all heritage laws by the Fianna Fáil Party who came up with new planning bills even as they tore down and scrapped institutions that were charged with the preservation of our natural and built heritage. News media would jostle to get near the government ministers who thought up new and ingenious ways to fast-track planning laws and ramming their tastelessness into property bubbles, bad housing, dublin satellites, and the ephemera of trash that can only be described as garbage politics. People like Muireann were almost criminalised for objecting to the fact that in the 13 years of political dominance by Fianna Fáil and it’s motley collection of political props, not one of them actually bothered to bring in a single heritage preservation bill. The media never asked why there were no heritage bills, they were busy selling houses for the government.
Muireann asked the awkward questions like why Dúchas was abolished by Martin Cullen TD, Why Bertie Ahern was so intent on a leadership that passed endless fast-track and Strategic Infrastructure Bills, and why successive Environment Ministers could not pass The Aarhus Convention into Irish law, they still haven’t. Why above all were we demolishing (‘Preservation by Record’) unique sites at Tara (39 sites were demolished) in the Gabhra Valley to allow for the M3 Toll Road. Decentralisation of protections like the OPW, and the defunding of existent preservation programmes were policies that ensured cheap housing and good profit to companies like the NRA (who also managed to take on the majority of archaeology programmes nationally) The media not alone did not trace these issues but they deliberately ignored or obfuscated them within a sugary silence that disallowed anything negative or challenging to emerge that might effect the status quo. There was no joining of dots, just a lot of quangoes and silence in the Tiger Era.
Despite this juggernaut of profiteering and short-termism, Muireann for the most part kept her temper and went into the courts, or she stood out on the Hill Of Tara in all weathers, or she waved orders into the faces of the Gardaí. She never cried in front of me but she witnessed a scarring and vicious tragedy that seems to encapsulate the appalling recklessness and greed of the Tiger Era. It was a devastation that was fuelled by greed and lack of education: bulldoze everything and make some cheap tract housing , extend the Dublin suburbs into Meath and while we are at it make a tidy little profit from unhooking all laws that preserve our unique heritage. Gombeenism is not the word for it.
Muireann’s gentler side emerged when she involved herself in cultural events like the Feis Teamhair where poets like Peter Fallon, Seamus Heaney, Paul Muldoon, Susan McKeown and more came yearly to Tara to raise cultural voice and to sing their protest. It was probably at Feis Teamhair that I last saw her turn back toward someone who grabbed her arm and asked her a question or greeted her warmly.
We make public poets, great men and women who are imprisoned in the media glare. We want them to represent all that is good in Ireland, and we consign the irritating questioners to the margins. Muireann was an irritating questioner, a restless and enthusiastic spirit, a friend and colleague of great poets, she defended and embraced our literary and poetic heritage with all her health and drive.
She has not lived as long as those she opposed, but her name is inscribed in the history of Tara, a visual sign that people will battle great odds to illuminate truths that politicians and their wordless and grey supporters ignore. Dr. Muireann Ní Bhrolcháin has died a respected and feisty woman, unlike the liars she challenged daily and I will miss her big heart.
Rest in Peace Muireann x
Christine Murray (published at The Bogman’s Cannon )
Walk with me (for my Dad)
Self Portrait as She Wolf
The Dream of the Fisherman’s Wife
Woman of the Atlantic Seaboard
To the last Neolithic farm woman of Céide Fields
The Snow Woman
‘Self Portrait as a She Wolf‘ and other poems published here are © Breda Wall Ryan
|Breda Wall Ryan grew up on a farm in Co Waterford and now lives in Co. Wicklow. She has a B.A. in English and Spanish from UCC; a Post-graduate Diploma in Teaching English as a Foreign Language, and an M.Phil. in Creative Writing (Distinction) from Trinity College, Dublin. Her awarded fiction has appeared in The Stinging Fly, The Faber Book of Best New Irish Short Stories 2006-7 and The New Hennessy Book of Irish Fiction. Her poems have been published widely in journals in Ireland and internationally, including Skylight 47, Ink Sweat and Tears, Deep Water Literary Journal, And Other Poems, Fish Anthology, Mslexia, The Ofi Press, Orbis, Magma and The Rialto. Her first collection, In a Hare’s Eye, was published by Doire Press in 2015. A Pushcart and Forward nominee, she has won several prizes, most recently the Gregory O’Donoghue International Poetry Prize, 2015.|
Cleaving a Puzzle-Tree
Inside the sloe,
|Doireann Ní Ghríofa is an award-winning bilingual poet, writing both in Irish and in English. Paula Meehan awarded her the Ireland Chair of Poetry Bursary 2014-2015. Her collections are Résheoid, Dúlasair (Coiscéim), A Hummingbird, your Heart (Smithereens Press) and Clasp (Dedalus Press). Her work is regularly broadcast on RTE Radio One. Doireann’s poems have previously appeared in literary journals in Ireland and internationally (in Canada, France, Mexico, USA, Scotland and England). Two of her poems are currently Pushcart Prize nominated.
www.doireannnighriofa.com & DoireannNiG
Thanks to Michael J Whelan for this post on ‘And Agamemnon Dead: An Anthology of Early Twenty First Century Irish Poetry’
Originally posted on Michael J. Whelan - Writer:
Hi everyone, I’m really happy to announce that a brand new anthology of contemporary Irish poetry has been published today (St Patrick’s Day) in Paris and I am also delighted to say that I have five poems included in the collection alongside a number of exciting and interesting new voices coming out of Ireland in the these early years of the 21st Century.
And Agamemnon Dead An Anthology of Early Twenty First Century Irish Poetry, Edited by Peter O’Neill & Walter Ruhlmann is published by Muavaise Graine (Paris 2015) –
and among its 187 pages you will find poetry from
Michael McAloran — Amos Greig — Dylan Brennan — Christine Murray — Arthur Broomfield — Peter O’ Neill — Rosita Sweetman — Michael J. Whelan — Anamaría Crowe Serrano —…
View original 227 more words
The fact that a new generation of emergent writers must await vehicles like Poetry Ireland Introductions to find an audience stinks of a paternalistic approach to poetic works that sees a few dominant poets stand between the reader and the work, as if it were radioactive. The poetry audience is not remedial and they like to go searching, hence from Ireland they will go to where accessibility is respected, to UBUWEB, to PENNSound, to Jacket2, to The Electronic Poetry Center.
Originally posted on The Bogman's Cannon:
The Electronic Poetry Center (U.S) was founded in 1995. UBUWEB was founded by Kenneth Goldsmith in 1996, it is an audio archive housing avant-garde works including visual, concrete and sound poetry, UBU also holds film files. PENNSound was founded in 2003. To date, not one Irish University has made a step towards providing accessible poetry archives in Ireland. Poetry Ireland has not gone an inch toward increasing accessibility to Irish audio poetry. Why is this ?
Whatever way we choose to look at this situation, we can see that despite the tourist push on arts here, we are one to two generations behind best practice in the area of accessibility to audio poetry. Instead we have a focus on pushing a few poets, mainly to the American market, and beneath the colossus-like feet of the Yeats, the Muldoons, the Heaneys, and the presidential poets, the green shoots are strangled and…
View original 710 more words
Hades to Persephone
Demeter Does Not Remember
Soon It Will Be Winter
Demeter: Coming of Age
|Mary Madec was born and raised in Mayo. She studied at NUI, Galway (B.A., M.A., H.Dip Ed.) and at the University of Pennsylvania from which she received a doctorate in Linguistics in 2002. She has published widely (Crannóg, West 47, The Cuirt Annual, Poetry Ireland Review, the SHOp, The Sunday Tribune, Southword, Iota, Nth Position, Natural Bridge and The Stand Orbis, The Fox Chase Review,The Recorder among others. Her first collection, In Other Words, appeared with Salmon Poetry in 2010 ; her second collection, Demeter Does Not Remember also with Salmon Poetry at the end of 2014. She has received several awards and prizes most notably the Hennessy XO Prize for Emerging Poetry in 2008. She co-founded a community writing project and she teaches a residential course at Kylemore Abbey every summer. She works for Villanova University in Ireland.|
|Dear Freda Laughton, Your Poems are being discussed at Jacket2 Magazine:
Walt Hunter writes for Jacket2 on Dave Lordan’s interview with Emma Penney about the modern Irish woman poet Freda Laughton. Freda Laughton was born in Bristol in 1907 and moved to Co. Down after her marriage. She published one collection of poetry, A Transitory House, in 1945 but little else is known about her life and work. She may have lived in Dublin for sometime, as her poem The Welcome details the textures of Dublin City and its suburbs, and suggests she knows the city by heart. Her date of death is unknown.There are some Freda Laughton poems published on Poethead here.
Becoming a Woman
The Tree of Time
This is a magical time.
| Lindsey Bellosa lives in Syracuse, NY. She has an MA in Writing from the National University of Ireland, Galway and has poems published in both Irish and American journals: most recently The Comstock Review, The Galway Review, IthacaLit, Crannog, Emerge Literary Journal and The Cortland Review. Her first chapbook, The Hunger, was published with Willet Press in 2014.
Originally posted on The Bogman's Cannon:
Who is Freda Laughton, and what trail has led you to her?
There are very few ‘facts’ about Laughton. She was born in Bristol in 1907, moved to Co. Down early in her life and married. Her first and only collection of poetry, A Transitory House, was published in 1945 and she was a regular contributor to The Bell magazine. Despite this, there is no available death record for Laughton.
This lack of critical interest in Laughton reflects the selective vision of literary traditions which often exclude poets who do not fit with the contemporary moment or who may trouble the formation of new movements. Irish critics during the 70’s and 80’s held Eavan Boland to be the first writer to express what ‘poetic being’ was for a woman; the first to express the domestic; motherhood; the first to map Dublin city as a woman. Laughton expresses all of…
View original 2,734 more words
Deserted Village, Achill Island
Notes for an exhibit
Madam Butterfly at Beaumaris
|Nessa O’Mahony was born in Dublin and lives in Rathfarnham where she works as a freelance teacher and writer. She won the National Women’s Poetry Competition in 1997 and was shortlisted for the Patrick Kavanagh Prize and Hennessy Literature Awards. She was awarded an Arts Council of Ireland literature bursary in 2004 and 2011. She has published four books of poetry – Bar Talk, appeared (1999), Trapping a Ghost (2005) and In Sight of Home (2009). Her Father’s Daughter was published by Salmon in September 2014. She completed a PhD in Creative Writing in 2006 and teaches creative writing for the Open University. She is a regular course facilitator at the Irish Writers Centre in Dublin.|
‘Heaven Scent’ Magnolia
First published in Abridged and subsequently in Of Birds and Bones
Le Jardinier Vallier
First published in Small Lives (Poddle Publications) and subsequently in Of Birds and Bones
The Suitcase of Bees
|Dublin-born Geraldine Mitchell lives on the Co. Mayo coast, overlooking Clare Island. She won the Patrick Kavanagh Award in 2008 and has since published two collections of poems, World Without Maps (Arlen House, 2011) and Of Birds and Bones (Arlen House, 2014). She is also the author of two novels for young people and the biography of Muriel Gahan, Deeds Not Words.|
Originally posted on the poem between -- essays by Tom D'Evelyn:
This poem by Christine Murray is more than a text. I have been wanting to say something about it; today, having spent some time with Sinead Morrissey’s “Yard Poem” from the acclaimed Parallax (2013), I have a focus. “Yard Poem” is a very well-written, indeed sumptuous poem, a gorgeous outrageously conceived and executed text. “The Brightest Jewel” is something different. They are both poems but Murray’s poem somehow exists off the page. It creates its own spaces within spaces.
The note at the bottom of the text (which includes a second version of the poem which I won’t discuss at this time) refers to a place and an occasion: The National Botanic Gardens share the both River Tolka and a perimeter wall with Glasnevin Cemetery, wherein a plot known as ‘The Angels Plot’, a possible resting place for my infant brother, although there are no records.
Between the river and…
View original 585 more words
Adagio for Strings
The Golden Hare
Written for Master Daire James Mc Faul of Rathlin Island
|Mary Cecil is the mother of large family and Grandmother to eleven. The widow of Rathlin Island’s famous campaigner, diver, author (Harsh winds of Rathlin) Thomas Cecil. Lover of Rathlin Island, Northern Ireland’s only inhabited island. Mary enjoys community development and current events. She has been writing poetry for several years. Enjoys writing a variety of poems, spiritual, war, romantic, protest and nature. Keen to compose more poems based on Rathlin Island’s myths & legends. She worked in owning andmanaging tourist facilities both on and off Rathlin Island. Public Appointment as Lay Member, The Appropriate Authority, Criminal Legal Aid Board .|
|Shirley McClure’s new collection Stone Dress, is published by Arlen House in August 2015. Her CD Spanish Affair, with her own poems plus poetry and music from invited guests, was launched in June. All proceeds from the CD go to Arklow Cancer Support Group, where she facilitates a writers’ group. Her first poetry collection, Who’s Counting? (Bradshaw Books) won Cork Literary Review’s Manuscript Competition 2009. She won Listowel Writers’ Week Originals Poetry Competition 2014. Shirley lives in Bray, Co. Wicklow.
Encounters with a Hare
|Aoife Reilly is living in County Galway and is originally from County Laois. She is a teacher and psychotherapist. She has been attending poetry workshops with Kevin Higgins at the Galway Art Centre since September 2013 and has read at open mike of the Over The Edge Series at Galway City Library.|
Prayer for my New Daughter
A soul in chrysalis, in first agonized molt,
Gratitude for an Autistic Son
Rebecca Foust’s most recent book, Paradise Drive, won the 2015 Press 53 Award for Poetry. Foust was the 2014 Dartmouth Poet in Residence and is the recipient of fellowships from the Frost Place and the MacDowell Colony. New poems are in the Hudson Review, Massachusetts Review, Mid-American Review, North American Review, Omniverse, and other journals, and an essay that won the 2014 Constance Rooke Creative Nonfiction Award is forthcoming in the Malahat Review.
Rebecca Foust Website
Eamon Ceannt Park; a cycle
It is dark beneath the tree.
The rising sun has not yet caught
A clutter of dry debris, a black feather
She would sing him if only he let her.
“Intreat me not to leave thee
‘Eamon Ceannt Park; a cycle’ by Christine Murray was first published at Bone Orchard Poetry Ezine and collected then in Cycles (Lapwing Press, 2013)
The Boom and After the Boom
The river surface offers
Latvians and Lithuanians
Winter gales have made swift work
|Alice Lyons was born in Paterson, New Jersey and has lived in the West of Ireland for fifteen years. Her poems have appeared in publications such as Tygodnik Powszcheny (Kraków) and POETRY (Chicago), as public installations in Staircase Poems at The Dock in Carrick-on-Shannon and as poetry films in cinema and gallery screenings worldwide.
She is the recipient of the Patrick Kavanagh Award for Poetry, the Ireland Chair of Poetry Bursary, an Academy of American Poets Award and multiple bursaries in literature and film from An Chomhairle Ealoine/The Arts Council. Her poetry film, The Polish Language, co-directed with Orla Mc Hardy, has screened in competition in over 30 film festivals worldwide and garnered numerous awards including an IFTA nomination. Her new poetry film, Developers, premiered at Oslopoesie, Norway in 2013. She has lectured in English and Fine Art at Boston University, Maine College of Art, the Galway-Mayo Institute of Technology and Queen’s University, Belfast. She holds a Ph.D. from the Seamus Heaney Centre for Poetry, Queen’s University, Belfast. She is currently curator of Poetry Now, Dun Laoghaire.
Curator | Poetry Now 2015
Mountains to Sea Book Festival
Dun Laoghaire, County Dublin
Curator | The Dock
Carrick-on-Shannon, County Leitrim
Where it Led You
(for John Maggio)
Cherry Smyth is an Irish writer, living in London. Her first two poetry collections, When the Lights Go Up, 2001 and One Wanted Thing, 2006 were published by Lagan Press. The Irish Times wrote of this collection: ‘Here is clarity and realism, couched in language that is accessible and inventive. The title poem carries all Smyth’s hallmarks: precision, linguistic inventiveness and joy.’ Cherry’s work was selected for Best of Irish Poetry, 2008, Southword Editions and The Watchful Heart: A New Generation of Irish Poets, Salmon Press, 2009. Her third collection Test, Orange, 2012, was published by Pindrop Press and her debut novel, Hold Still, Holland Park Press, appeared in 2013. She also writes for visual art magazines including Art Monthly. She is currently a Royal Literary Fellow.
After my son was born
Service Not Included
Ailbhe Darcy was born in Dublin in 1981 and grew up there. Her first full-length collection, Imaginary Menagerie, was published by Bloodaxe Books in 2011 and shortlisted for a Strong Award. A poem from the collection was chosen by the Guardian newspaper as their “poem of the week.” Selections of work appear in a chapbook, A Fictional Dress (2010) and in the anthologies Identity Parade, Voice Recognition and If Ever You Go.
First published in Mslexia, 2012
Against the flow
First published in Ambit, 2013
First published in Poetry Wales, 2013
On the Boat
Originally from a farm in Roscommon, Jane Clarke now lives in Co. Wicklow. She holds a BA in English and Philosophy from Trinity College, Dublin and an MPhil in Writing from the University of South Wales. She has a background in psychoanalytic psychotherapy and combines writing with her work as a management consultant in not-for-profit organisations. Her poems are widely published in journals, newspapers and anthologies, including The Irish Times, The Irish Independent, The Rialto, The North, Poetry Wales, Mslexia, Agenda, Ambit, Abridged, The Interpreter’s House, Envoi, The Stinging Fly, Cyphers, The Shop, Crannog and The Stony Thursday Book; Tokens for the Foundlings Anthology, ed. Tony Curtis (Seren Books, 2012), Anthology for a River, ed. Teri Murray (River Shannon Protection Alliance, 2012), The Fish Anthology, ed. Clem Cairns and Jula Walton (Fish Publishing, 2012) Listowel Writers’ Week Winners Anthology, (Writers’ Week Listowel, 2007 & 2014), The Roscommon Anthology, ed. Michael & John O’Dea (Roscommon Literary Heritage Group, 2013), International Baccalaureate Theory of Knowledge Course Companion, (Oxford University Press, 2013), A Telmetale Bloomnibus, ed. Clodagh Moynan (Irish Writers’ Centre, 2013), The Hippocrates Prize Anthology, (The Hippocrates Press, 2013), Leaving Certificate Higher Level English Course Papers, (Educate.ie, 2014); She received the Listowel Writer’s Week Poetry Collection Prize in 2014 and has won a number of other prizes including Trocaire/Poetry Ireland Competition (2014), Poems for Patience (2013), iYeats (2010), Listowel Writers Week (2007). Runner-up in the Poetry Ireland/Trocaire Competition (2013) and the Listowel Writers Week Poetry Collection Competition (2013), she was also shortlisted for the Patrick Kavanagh Poetry Competition 2013, the Hennessy New Irish Writing Literary Awards 2013 & 2014, the Hippocrates Prize (2013), Mslexia Poetry Competition (2012), Fish Poetry Prize (2009 & 2012). In 2009 she was selected for the Poetry Ireland Introductions Series and was awarded an arts bursary by Wicklow County Council. Her first collection will be published by Bloodaxe Books in 2015.
Originally posted on Poethead:
My thanks to Matthieu Baumier, editor at Recours au Poème , and to Elizabeth Brunazzi, who published and translated four poems from my collection, Cycles (Lapwing Publications, 2013).|
I am adding here Elizabeth’s translation of i and the village (after Marc Chagall)
moi et le Village
View original 169 more words
An excerpted section from Un-Sight/Un-Sound is available on my Open Salon Blog
Originally posted on gnOme:
un-sight un-sound/ yet/ in vacuum of doubt’s expel/ clamouring for beyond flesh what meat as if/ yet forage no/ not a/ eye crushed within fist of none/ echoing chamber of nothing/ never dispelled
Un-Sight/ Un-Sound (delirium X.) is a prose-poetic work in three sequences: “delirium X,” “Meat Sequence (after Francis Bacon),” and “Ghost-Limb Tongue.” In the first, quotations from various authors (Bataille, Beckett, Luca, Popa et al.) are used as springboards for surreal imagistic fragmentation. The second section, inspired by Deleuze’s Francis Bacon, deals with the subject of flesh/ meat and explores the concept of the human object divulged of identity/ place, stripped of ego, and viewed from an externus. The third section addresses the conflict between sense and the real and concludes with a collection of aphorisms written with regard to words becoming a bankrupt form of…
View original 35 more words
When I look back I seem to remember singing.
Impenetrable, those walls , we thought,
Fable is © Doris Lessing (1919-2013)
Nobel Laureate Doris Lessing (1919-2013) was a novelist, poet, and sci-fi writer. This appreciation of Doris Lessing was first published on the Women Writers, Women’s Books Site in 2013 with thanks to Anora McGaha, and to Barbara Bos who live edited the piece at the time of writing. Thanks to Olivia Guest at Jonathan Clowes Ltd who has allowed me carry Poems by Doris Lessing here at Poethead.
|When a person of great age dies, there are many responses about the richness of their life and how we have been blessed by their presence for so long in our world. Yet for me there was and is profound sorrow at the loss to us of Doris Lessing Nobel Laureate, author, philosopher and poet. I do not delude myself that my sorrow is one of intimate connection to her, a whole generation of women writers have that connection to her voice.
My connection to Doris Lessing’s writing began in my twenties when I first read The Golden Notebook, I read almost all her work after that. I am unsure of where the gut tear occurred with my reaction to her work, but here was a writer who did things that I admired. It was difficult to locate her effect on me, but I knew it and recognised it as important to my writing.
Living in Dublin city, I often retreat to a small house in Mayo, where my now deceased friend, Michael McMullin, a philosopher and jungian, had retained a library. His Doris Lessings were collected on the top shelf of his library, alongside some images of Chartres Cathedral, and his Yeats collection. Like Lessing he had attained a great age and had a voracious thirst for knowledge, he was born in Ceylon in 1916.
Michael’s assidious collecting of Doris Lessing was winsome, and he often referred to her. His nomadism had taken him from Ceylon, to Cambridge, to escape from Hitler’s invasion of Paris, to Finland, to Canada, and at the end his life, a hillside In the North-West of Ireland. I did not meet Doris Lessing, but I had met in Michael that intellectual and questing spirit that seems to inflame the diasporist writer. It can only be described as a great and humble presence, their being present to everyone who he/she encounters all the time.
Doris Lessing’s death brought back my own recent loss with a punch. I saw the rumours of her death emerging from early Sunday morning and waited to hear if it were true. My decision to go ahead and link the Lessing poems was an urgent need to show people that there was more to her output, although it is sadly unavailable.
Two years ago while re-reading Lessing in the Mayo library awaiting a death, the Lessing poetry began to make me a bit more than curious. On returning to the city, I thought to do some searches of her writing, as I was aware that she like Ted Hughes, had elements of Sufism in her writing. I was aware that she had written poetry but couldn’t find much. The place to look for the mythological, esoteric, and philosophical mind of the writer is in their poetic output. Poetry is the revelatory act of participation in the world.
Doris Lessing had written a small collection Fourteen Poems in 1959, published by The Scorpion Press, and she had contributed to the Inpopa Anthology (2002). Her poetry isn’t available online. The Scorpion Press Archive is housed at the McFarlin Library (Special Collections) at the University of Tulsa.
Alison Greenlee, Librarian at the McFarlin Special Collections Library located for me a copy of the book in my Alma Mater, University College Dublin. I made an appointment to go in as soon as I could and transcribed a selection of the poems for myself. The next step was to contact Jonathan Clowes Ltd, who are Doris Lessing’s agents.
Olivia Guest at Jonathan Clowes Ltd, Doris Lessing’s Literary Agents, worked on my behalf to bring Doris Lessing’s poetry back online. We corresponded initially by letter and I procured a temporary 12 month licence to add Lessing to my index of women poets. I wanted her to be recognised for her entire body of work and not alone the novels. After the initial permissions to carry the Lessing poetry were given, the first letter went awol and had to be re-issued, I put them up and shared them regularly across multiple social media platforms including FB, Twitter, Salon.
I wrote about the poems on Open Salon. There were 3,000 hits on the poetry over the two blogs. People contacted me to say that they wanted to read the books, that they had no idea that she was a poet, and that they were heartened to see a woman poet of great age appearing on their computer screens, as there is often a problem with having older women visible in the media.
The following year, I sent Olivia Guest a synopsis of the reaction to Doris Lessing’s poetry and we agreed to extend the licence for another 12 months. She was surprised that the reaction to lessing’s poetry had been so widespread and curious. I sent her screenshots of the data and emails regarding the works.
This year of 2013, I again contacted Olivia and reminded her that my licence to carry the poetry was about due to end and that it gave me great sorrow to take the poems off my index, people were always looking for them, they accounted for a lot of searches for women writers, alongside Dorothy L. Sayers and Nelly Sachs.
last week I received an email that made me sadder. Doris Lessing had little confidence in her poetry and her agents were happy to allow me keep them indefinitely because they did not see the possibility of a re-issue.
I was swallowed by a Harry Clark window.
The First Time She Painted Me
Night was published in Southword Literary Journal
Niamh Boyce’s novel The Herbalist (Penguin Ireland) won 2013 Newcomer of the Year at the Irish Book Awards. She won Hennessy XO Writer of the Year for her poem Kitty in 2012 and her unpublished poetry collection, The Beast Is Dead, was highly recommended in the 2013 Patrick Kavanagh Poetry Award.
Entering the Mare
|All poems published here are from Rootling: New and Selected Poems published by Bloodaxe (2010). Entering the Mare originally appeared in 1997, in a collection called Entering the Mare. Confluence comes from Day of the Dead, a collection from 2002.|
Katie Donovan has published four books of poetry, all with Bloodaxe Books, UK. Her first, Watermelon Man appeared in 1993. Her second, Entering the Mare, was published in 1997; and her third, Day of the Dead, in 2002. Her most recent book, Rootling: New and Selected Poems appeared in 2010. She is currently working on a novel for children.
Her poems have appeared in numerous periodicals and anthologies in Ireland, the UK and the US. She has given readings of her work in many venues in Ireland, England, Belgium, Denmark, Portugal, the US and Canada. She has read her work on RTÉ Radio One and on BBC Radio 4 and BBC Radio 3. Her short fiction has appeared in “The Sunday Tribune” and “The Cork Literary Review”.
It Was For This
Kevin Higgins is co-organiser of Over The Edge literary events in Galway City. He has published four collections of poems: Kevin’s most recent collection of poetry, The Ghost In The Lobby, was launched at this year’s Cúirt Festival by Mick Wallace TD. His poems also features in the anthology Identity Parade – New British and Irish Poets (Bloodaxe, 2010) and one of his poems is included in the anthology The Hundred Years’ War: modern war poems (Ed Neil Astley, Bloodaxe May 2014). His poetry was recently the subject of a paper titled ‘The Case of Kevin Higgins: Or The Present State of Irish Poetic Satire’ given by David Wheatley at a symposium on satire at the University of Aberdeen; David Wheatley’s paper can be read in full here http://georgiasam.blogspot.ie/2014/05/the-case-of-kevin-higgins-or-present.html . Mentioning The War, a collection of his essays and reviews, was published by Salmon in April, 2012. Kevin’s blog is http://mentioningthewar.blogspot.ie/ . and has been described by Dave Lordan as “one of the funniest around” who has also called Kevin “Ireland’s sharpest satirist.”
gold-bodied a beetle dives
|This Is The Point Where Colour Comes In was initially published at Bone Orchard Poetry, from a MSS series called The Silences|
|Mary Kennelly has been involved in arts events in Ireland for many years, including Listowel Writers’ Week and the Brendan Kennelly Summer Festival. She was a participant in Mindfield: Spoken Word section at Electric Picnic 2014, where she performed alongside the Limerick collective The Whitehouse Poets. She has written for publications including The Kerryman, The Sunday Independent and The Sunday Tribune. Originally from County Kerry, she now lives in County Limerick.