Thursday 31 December 2015

For Love of 2015

I've had an extraordinary year. The only diminishment to the pleasure has been the inability to share any of it with my parents, especially my mother, my best friend, who I often used to speak to in my thoughts.

The first spectacular was the shortlisting of Imagined Sons for the Ted Hughes Award for New Work in Poetry by The Poetry Society--or, more specifically, the judges, Julia Copus, Kei Miller and Grayson Perry. For a manuscript first completed in 2006, honed nearly until publication in 2014, I was honoured and thrilled to receive national recognition.

Not long after the shortlisting, Susannah Herbert phoned to ask if I'd serve as a judge for the Forward Prizes in Poetry. The work proved exceptionally heavy--180 books, 225 poems (or thereabouts)--with a quick turnaround before the shortlist meeting. It was a treat to work with A.L. Kennedy, Emma Harding, Warsan Shire and Colette Bryce, and I learned so much about the way poetry collections operate, about the way they achieve integrity and excellence.

With the Forward prizegiving and celebration on 30 September and the new academic year commencing at the same time, I felt overwhelmed and delighted with my year in poetry. At the end of October I attended one of the most personally gratifying events of the year, with the launch of my late friend Linda Lamus's collection, A Crater the Size of Calcutta. Many publishers didn't want to touch a posthumous book by an unknown poet, but Mulfran Press took it on and produced a beautiful volume. The launch of the book in Bristol, with ten people who loved her reading a poem each, was perfect.


Yet there was more, relevant to my position teaching at Bath Spa University. To my delight, I received some teaching relief for the upcoming academic year, so while I'd be coordinating four modules, teaching PhD and undergraduate students doing independent studies, doing the usual load of moderation of marking for my own and other modules, and running the weekly first-year plenary series, I would not be teaching directly any individual modules and so not doing any large loads of marking. Instead of working five days a week for Bath Spa (I'm on a .7 contract, which means just under three-quarters' time), I would be working 2-3 days, so I'd have 4-5 days a week for my writing. Wa-hey! Further recognition came in December, with promotion to Reader in Creative Writing at Bath Spa.

I've had a splendid few months using the extra time the university's given me. I've been writing as much as possible, researching (this is the first book of poetry I've worked on that involved extensive research), and reading widely and voraciously. Thanks to my friends, colleagues, students and readers for your encouragement and support--I'm so grateful.


Here's to 2016!


Wednesday 30 December 2015

Seizing: Places by Hélène Dorion, translated by Patrick McGuinness (Arc, 2012), first selection

Here is my first selection (of two) of favourite passages from Canadian poet Hélène Dorion's Seizing: Places. Thanks to Patrick McGuinness for the translation (and presumably for bringing it to a UK audience) and to Elżbieta Wójcik-Leese for recommending the book to me.



...the emptiness heavy on your shoulder....


*

              Look only at the room
where your life echoes.

*

...soon you confuse your shadows
with your body's signs of life.

*

All around you the season
circles, like the sky's bones
like the days' cold marrow

*

...the pain death spreads
along the immaculate corridors.

*

                                              Above the town
the sky walked its greys.

*

...the sea contemplates the island....

*

A century dispersed--the image takes shape--
in the barking carhorns
hear the scraping of oars, see
the city is waking.

from "Seizing: Cities"


Only a few marks of other lives
are left on the edge of the days, those faces 
the darkness has stopped burying.

*

The present catches up with what he remembers.

*

Dark, naked
in the century's boneyard
the tide swells.

*

You fix your eyes on the borderless window
pierced by the road
imagine the hill it explores
like a language, like a face.

from "Seizing: Shadows"


The wind. --And you're falling
through the landscape:
the silent wave
closes around your steps, your hands.

Far off the burned-out day
tilts. The birds tear up 
the sky as they come
to meet you.

*

There's no journey you return from
without your life, from its
far-off bank, coming closer.

*

Some shadow in the voice
like a little sand
running. You throw back
your head: do you see

time sinking
behind your words, do you see
the patient downpour?

*

Arrows plunge
into the water
and the water trembles
--the wound

on the lake's back
obscures the night
that tried to fall.

*

Tonight, the moon
slices the lake, digs
a sheer well of silence
on the horizon.

*

What shadow
undoes the dawn
hour by hour?
What fragmented

word is piecing itself together
time after time?

*

                             Why

so many skies
sloping down to your mouth?

*

Is it the sea
or the island--
that your gaze dismantled?

*

You chew over
the scraps of silence
the earth left unburned.

from "Seizing: Mirrors"






Saturday 26 December 2015

Bahia Palace, second selection

Trev and I experienced ceiling awe so often in Marrakech that at one point, shortly after we walked into such a room, he said, "Ceiling alert." It became our code for another stunning ceiling. 








If we'd included "door alert", we'd have been saying it all the time in Marrakech!








Tuesday 22 December 2015

Majorelle Garden, Marrakech

French painter Jacques Majorelle created this wonderful garden, and in 1980 Yves Saint Laurent and his partner Pierre Bergé bought it to protect it from destruction. You can learn more from the website here


















Sunday 20 December 2015

Street cats of Marrakech, first selection


Cats are everywhere in Marrakech and seem to belong to streets and businesses rather than people's homes. A few were in too sad condition to photograph, though.



























Saturday 19 December 2015

A blurb for Hometown (V. Press, 2016) from David Gaffney

I'm so looking forward to the publication of my first pamphlet/chapbook of flash fictions from V. Press in 2016, Hometown. As I've admired David Gaffney's short-short stories for some years, I asked him if he'd provide a blurb for the collection, if he liked it. Here's what he sent: "Etter's stories climb into your head and reboot it from the inside, from the squealingly joyous to the darkly sad, some with gear changes that fling you backwards in your seat, some told in voices so strong you could lean against them, and then some fragile, as if the page held nothing but the faint impression of a delicate and long-dead insect. I can't wait for more."

Tuesday 15 December 2015

El Badi Palace, Marrakech

The palace is ruins. The story behind it is here: http://www.roughguides.com/destinations/africa/morocco/marrakesh/southern-medina/el-badi-palace/







Storks make their nest along the top of the walls. They make the most unusual (to me) sound, a kind of clicking that at a distance can sound mechanical.












Sunday 13 December 2015

Dar Si Said Museum, Marrakech: second selection



As the caption says, an ancient mousetrap!




That flash in the middle is me. 




Doors upon doors





The courtyard (with Trevor)




Saturday 12 December 2015

Dar Si Said Museum, Marrakech: The Ceilings
























This decorative arts museum's highlight was its wonderfully detailed ceilings in room after room. The admission price is one I'd wish on many an American and British museum to increase access: a mere 10 dirhams, 70 pence, a dollar. And there's much more than these pictures show, some of which will follow in a future post or two.



Tuesday 24 November 2015

The Poetry Book Society Bulletin on Linda Lamus's A Crater the Size of Calcutta (Mulfran, 2015)

"Published posthumously following her death from cancer in 2008, Linda Lamus' debut collection affords us an all-too ephemeral glimpse of a nascent talent tragically lost to us. Edited by Carrie Etter and with a foreword by Tim Liardet, these are intricately crafted poems, distilled impressions of her world travels in crystalline snapshots of people and places which linger long in the memory. It is down to the sterling work of Carrie Etter and Mulfran Press that we can hear Lamus' startling voice: 'Look. I am the shadow watching from the stars.'"

Monday 16 November 2015

Forrest Gander's Torn Awake (New Directions, 2001)

In preparation for Forrest Gander's reading at Burdall's Yard on 26 November (you can book tickets here), I've been catching up with his work. Here are some favourite passages from this collection:


Look how your relation to truth creates a tension
you have slackened with compromise.

*

...measuring out an exile between self and self.

*

There is something more 
                                          than rhythms of distance and presence....

*

But who is it that is speaking
in the glorious, unstrung light?

from "The Hugeness of That Which Is Missing"


While the stars flare and the waitress crumbs
the tablecloth, are you just opening again
to the lust to be filled with something? What is it?

from "To the Reader"


...and the canyon opening
out in front of them its magisterial consequence....

from "Line of Descent"


Pain as utterance
withheld.

from "Carried Across"


Love solves nothing, though it has made me appear.

 from "To the Invisible World"

 

Wednesday 4 November 2015

UK online magazines for poetry &c.

I knew there were online magazines produced in the UK that I didn't know about, so yesterday I put a call out and was amazed to learn of so many. Here's what I found. Please let me know of any I've missed, and I'll update accordingly.

The list so far of online-only, poetry-publishing, UK-based mags, last updated 10 November:

And Other Poems (https://andotherpoems.wordpress.com/)
Angle (http://anglepoetry.co.uk/)
Black Sheep Journal (http://www.blacksheepjournal.com/)
Burning Bush 2 (http://burningbush2.org/)
Clear Poetry (https://clearpoetry.wordpress.com/)
ctrl+alt+del (http://theabsurd.co.uk/cad/)
The Clearing (http://theclearingonline.org/)
Compass Magazine (http://www.thecompassmagazine.co.uk/)
Datableed (http://www.datableedzine.com/)
Ground: Poetry Faith and Doubt (http://www.ground.org.uk/)
I Am Not a Silent Poet (https://iamnotasilentpoet.wordpress.com/)
Ink, Sweat & Tears (http://www.inksweatandtears.co.uk/)
Intercapillary Space (http://intercapillaryspace.blogspot.co.uk/)
The Island Review (http://www.theislandreview.com/)
Keep Poems Alive (http://keeppoemsalive.com/)
Lighten Up Online (http://www.lightenup-online.co.uk/)
Litter (http://www.leafepress.com/litter/)
M58 (http://www.m58.co.uk/)
The Manchester Review (http://www.themanchesterreview.co.uk/)
Message in a Bottle (http://www.messageinabottlepoetrymagazine.com/)
Morphrog (http://www.morphrog.com/main_frame.htm)
The Open Mouse (https://theopenmouse.wordpress.com/)
Poems in Which (http://poemsinwhich.com/)
Prac Crit (http://www.praccrit.com/)
Snakeskin (http://www.simmers1.webspace.virginmedia.com/index.html)
Spontaneity (http://spontaneity.org/)
Starting Out (https://thecurlymindblog.wordpress.com/2015/11/06/starting-out/)
Stepaway Magazine (http://stepawaymagazine.com/)
Stride (http://www.stridemagazine.co.uk/)
Three Drops from a Cauldron (http://threedropspoetry.co.uk/)
Turbulence (http://turbulencepoetry.blogspot.co.uk/)
The Undertow Review (http://theundertowreview.webs.com/)
Your One Phone Call (https://youronephonecall.wordpress.com/)



Enjoy!


Sunday 1 November 2015

Launching Linda Lamus's A Crater the Size of Calcutta, 30 October 2015


It was a splendid evening on Friday, 30 October at the Boston Tea Party on Park Street in Bristol. Many of Linda's friends and family came to celebrate the publication of her collection, A Crater the Size of Calcutta, by Mulfran Books, and ten of us read a poem each. Thanks to Karen Hoy for these photos.



 Dikra Ridha reads "Ghazal."




John Terry gave a wonderfully exuberant performance of "Signor Floretto's Italian Flea Circus."



A full room, with some audience members following along in their copies of the book.




 Madeline Gittus reads the title poem.



There will be a second launch of the book in Cardiff on Thursday, 5 November as part of the First Thursday series at Chapter Arts Centre. 


Thursday 29 October 2015

Cole Swensen's Landscapes on a Train (Nightboat Books, 2015)

Some favourite passages from Swensen's new book. I so look forward to her reading tonight at Burdall's Yard in Bath--it begins at 8 p.m.--join us!


Light. All accident. Across a rolling green, soft in animals.

*

Stream down sun in little coins.

*

A church too big for its hill. And cows easing down the slope. Slows its calm, and
More little sun goes on among selves.

*

                                                                                                                          A
Train across open land opens night. (A train lands all night across an open field.)

*

        Tree with light painted on. Then tree with points of dark which
Are birds or fruit that build slowly up into a night.

*

As the eye strikes a far thing, a
Small thing, a thing at this distance becomes distance alive all alone.

*

                                                                                                  Evening results
In a motion of sorts, a sort of splintering air.

*

                  Mistletoe crowding the emptiness of the empty branches
Of emptied trees.

*

              Making the water walk over the meadow like a line of bare
Poplars walks over a field.

*

The sun is a thrush, thrust up against, is falling in sheets, it falls in and sees....

*

You slide the screens to change the world.

*

                                                                         Season extant, season
Alarmed. The surface of water: a matter of light.

*

Birds toward the sea, a sea of them. 

*

The lights of a landing plane the streams of lights lining a road of a town the lights
Of a single light of a farm. Everything cannot be light, a light, we pass through
Miles of dark.

*

Down. To a sound, which has no shore.

*

Rain rains down upon rain.

*

                                                                                                                                Huge
Piles of leaves in the live sky burning the piles of flames into light dying in the sun.

*

                          The man across from me slightly shakes. He thinks
It's his hands. He shakes, and then he shakes them.

*

                                                                         Raw, strong roads that
Sweep the wind.



I found the easiest way to purchase Landscapes on a Train in the UK was to purchase it from Abe Books.




Monday 26 October 2015

Forrest Gander's Eye Against Eye (New Directions, 2005)

Here are some of my favourite passages from this collection by Forrest Gander. I've been catching up with his work in preparation for his reading at Burdall's Yard in Bath on Thursday, 26 November, about which there are more details here.




At sunset the surface of the wall gleams gold gleaming

and seems from even a short distance a smooth

impenetrable force swelling forward to meet the light

*

                 The fragility of presence. A bird

perched at the tip of a branch. Singing, we say.

from "Burning Towers, Standing Wall"


Half-lidded days of early winter.

*

He sees the woman's face contract at the approach of other futures than the one for which her face was prepared.

*

As if they were waiting. As if inside experience, bright with meaning, there were another experience pendant, unnameable.

from "Ligature"



a sobering enthusiasm for the unmoored

*

you dance with your hips and feet while I'm all torso

there's a cure for that

*

veracity confronts us

ravens warning awe awe

*

should you crack and spill the yolk of yourself
you will find in me a stay

from "Present Tense"


In the riffle of leafy detail, we sense the respiration of the forest.

from "River and Trees"


Meanwhile, saturated by the density

of light, the tower and trees blend

into a compassion

                               where all the sight lines meet.  

end of "The Broken Tower"


and do we invent this privacy

the privilege to brim with each other

*

divorcing you from me

from the rhythm of our tangency

our breaking into my and my

*

from an infinite distance
I recall you

your presence

blows in, a red petal....

*

you can't tell

what is happening

until it moves on and is gone

as someone and someone's grief

careen around a corner


from "Mission Thief"
(my favourite poem in the collection, highly rcommended)


His muteness an onomatopoeia of the rising moon.

end of "Ligature 4"




You can best find and purchase Eye Against Eye in the UK from Abe Books.




Wednesday 21 October 2015

Cole Swensen's The Glass Age (Alice James Books, 2007), second selection

Here are some favourite passages from the book's second and third sections (of three). I find it a difficult work to excerpt from, as some of its felicity comes from longer threads and their concatenous developments.


from "The Glass Act":


        He said open

and everything he painted then opened
a woman sewing
enters in infinite gradations, the white
that never gets there
remains
               who, alone in a house with light,
built his house entirely of doors.

*

...--something

has slipped, is now offset, and now the street and the windows comprise a single living thing, which makes it come out in color.

*

Bonnard had a double fixation: saturated color and utter transparency. Not so much opposites as an immanent collision of the present until it's tangible. Cracked open to reveal at its center, a verb.

---

from the final section, "Glazier, Glazier":


When I was a child, I had a glass kite. Said the child staring out the window of the speeding train.

*

While in France, they built whole mansions of glass;
called orangerie or serres or vies, a conservatory can be

made, paned, claimed

I grew a lemon from a forest of thieves; I grieve

still for the infinitesimal

difference between
what you can see and what you cannot see

*

Geometry with imprecision at its heart
as the circle always veers in its infinity. Necessity.

*


Every window implies a blind spot--it's the air, the percentage of air in every scene; the portion that can't be seen lying over everything. The unveiled veil.

*

One of Bonnard's last paintings is titled The Small Window and shows, through an open window that frames three sides of the painting, another window, red, and at a distance, a suggestion of a building or maybe by now a window alone, a thriving shore.



In the UK, Cole Swensen's books are most easily found through Abe Books