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to which he belongs is one that reaches back in verse to the english augustans and forward through blake whitman and hopkins to william carlos williams above all it is a tradition of objectivity that has special regard for the world in its solid separate otherness for a plurality of phenomena independent of our egotistic projection and unblurred by myth or symbol tomlinson i believe is unique among contemporary english poets in the way that he has provided the terms by which we see the distinctness of that world and the tradition that describes it swigg went on to focus on that distinctness and in his next book on tomlinson look with the ears charles tomlinson s poetry of sound peter lang 2002 he traced the way in which tomlinson s poetry evolved from the 1940s to the 1990s as an acoustic means of seeing and voicing the physical world that concern for the voice prompted swigg to put together the most comprehensive collection of taped readings by basil bunting and in 8 separate cassettes he recorded the poet reading briggflatts 1967 and the well of lycopolis 1982 as well as interviews with tom pickard in northumberland between 1981 and 1982 richard swigg s energetic involvement with the world of modern poetry is also evidenced in his work done on the poetry and letters of george oppen and in 2007 penn sound published his collection of william carlos williams recordings online before going on in 2009 to publish his collection of oppen recordings in 2012 university of iowa press published his book on williams eliot and marianne moore quick said the bird and this also is a book worth seeking out it is the keen edged life tracked as much by moore in a frigate pelican a virginian mockingbird or the eagles of mount rainier as it is by williams following through the gymnastics of starlings in the wind a bird winging down to its watery image or the notes of a redbreast by the passaic falls all instances of a poetic outreach into the zestfully unsilenced which still persists in the later eliot s call quick said the bird as the thrush of an english garden points the acoustic memory back to the cries of the philomela nightingale or the water dripping song of the north american hermit thrush in the waste land in the early years of this century i was the reviews editor of the english association s magazine for teachers the use of english and i arranged for richard to review tomlinson s carcanet press edition of metamorphoses poetry and translation needless to say the review was terrific as he noted that frontiers divide fissures break open but in charles tomlinson s poetry they also impel the mind across borders to new connections that review appeared in vol 55 no 2 spring 2004 richard swigg was an academic and teacher who committed himself wholeheartedly to what he regarded as the central work of his life his eye for detail was precise and his awareness of what was going on in the world of research made his work very important indeed in a letter that he sent me some fifteen years ago one can detect the investigator at work the letter was in reply to some little details i had sent him concerning the oppens and the tomlinsons as to oppen coincidences i have mine while reading the selected letters recently i noticed that oppen had done a 1964 reading for the american academy a recording which i mentally noted as worth pursuing since i have several post 1967 where he reads of being numerous and later poems the 1964 one must i thought include the materials surely well hardly had i noted this than i had a reply from the harvard poetry room the new curator there don share who s done a ph d on bunting under ricks i think about my request for another oppen tape to say that he also had the 1964 one so now he s sending them over i ve also located ones that oppen did for the bay area local radio station kpfa in berkeley and hope to get these one of the days don share of course is now the editor of poetry magazine and published the very fine critical edition of basil bunting s complete poems for faber faber last year i last met richard swigg at the celebration of the poetry of charles tomlinson held in the wills memorial building clifton bristol on 30th september last year it was a joy to hear his open hearted enthusiasm for tomlinson s contribution to british poetry ian brinton 26th march 2017 share this email a link to a friend opens in new window email tweet more print opens in new window print share on tumblr share on reddit opens in new window reddit like this like loading leave a comment posted in homage memoir and tagged basil bunting charles tomlinson don share george oppen marianne moore richard swigg bookmark the permalink scaplings by michael haslam calder valley poetry posted on march 23 2017 by tearsinthefence in the introduction to issue 1 of folded sheets foldan sceatas september 1986 the editor michael haslam wrote about his new magazine venture it just aims to sheaf and bind some disparatenesses making postal ground out of what else might run the risk of being several desperate isolations facing the claims coherence makes upon identity the subtitled address on the front cover of this exciting new venture some thirty years ago told us that the folded sheets in question were of what new poetry is posted here and on the fly sheet there was an announcement concerning this unplanned serial publication of new poetry or prose or prose that is comparable to poetry is similarly motivated or at least may be self conscious of the wherefore of its personally spoken tone the eight issues of folded sheets contained poetry and prose by kelvin corcoran ken edwards peter hughes simon marsh chris torrance john wilkinson and many other important writers of the time issue 3 also contained a sequence of six poems by peter riley whose pennine tales was published by bob horne s calder valley poetry last year and which i reviewed for this blog at the end of july in riley s six poems from folded sheets we stand finally on the edge of night and recognise the dark mottled fall of light tensed between the houses which is itself a meaning but not itself articulate in the ninth poem from pennine tales the poet stands above hebden bridge out of the hare hounds 11 20 with mike haslam and stand on the edge of the moors difficult to believe that a small bus will come and pick us up there is nothing here but stone walls and distance we are alone we are nowhere this new publication from calder valley poetry offers a type of echoing reply as from one walker one traveller to another its full title is scaplings star jelly and a seeming sense of soul and it opens with references to other travellers whose ghosts haunt the heady lyrical surge that moves from bank to bank of these 36 poems the edifice of work and life an old retaining wall that long held back a seam of flaking shale collapses as a crumpled face into a rubble pile from high imperium to small importance fall impotence imprudence impertinence and all the way from imputation back to impact trail the files for miles and fail for want of style to face the facts beyond recall the echo here is of course that of a traveller from an antique land whose discovery of that colossal wreck in the desert sands of 1817 prompted shelley to think of how high imperium falls to small importance my name is ozymandias king of kings look on my works ye mighty and despair nothing beside remains round the decay of that colossal wreck boundless and bare the lone and level sands stretch far away time and decay haunt haslam s masterful lyric display of fingers up and down a keyboard of scarlatti sonatas as peter riley puts it on the back cover of this delightful collection on each of these 36 pages michael haslam sets out on foot into the world immediately confronting him and gathers from it the words experience memories percepts that he needs to form a poetry of rich texture he does this singingly so that the words echo each other and form queues and with the sharpest awareness of all the bright play offered by language when it is opened up when it faces its own history as travellers move about leafing their way through pages of long told tales odysseus nobody steers his craft across the shoals of an obscure idea the scaplings of wedge shaped lumps of offcut gritstone are inserted into the mortar of language to hold the block flush with the wallface bunting would have loved these poems and i think of peter makin s central book on the shaping of that northumbrian s verse the good poem is the one that once one has started saying its lines an inner necessitation makes one want to say on so interesting are the relations between the lines through to the end as riley put it words echo each other and form queues the walkers of a landscape walk over ground which shifts and changes one which holds its original face palimpsest i view us two that day we came along the long catchwater drain the climate light and delicate a touch intemperate the weather cold i can t recall the exact date the ground it seems is owned by some consortium of infrastructure funds when water passed to private hands the heart deflated and evaporated from the state our land miss sold how gently by permissive footpaths now across their land our right to roam s controlled free hearts for health and heath the heather blossom s old the physis that s the bios physics of our lungs and things we hold above the ground beneath to buy a copy of michael haslam s scaplings contact bob horne at http www caldervalleypoetry com or caldervalleypoetry yahoo com ian brinton 23rd march 2017 share this email a link to a friend opens in new window email tweet more print opens in new window print share on tumblr share on reddit opens in new window reddit like this like loading 3 comments posted in books english poetry and tagged basil bunting bob horne calder valley poetry michael haslam peter makin peter riley bookmark the permalink the poetry of john james conference posted on march 13 2017 by tearsinthefence last saturday saw magdalene college cambridge host this conference to celebrate the poetry of john james it was organised by the current judith e wilson fellow peter hughes whose oystercatcher press has published both cloud breaking sun 2012 and sabots 2015 i recall reviewing sabots for the tears blog in august 2015 and concluding that it is an uplifting sequence of three poems which restores a sense of vitality and endurance within a world threatened by commercial bureaucracy and targets the conference was itself uplifting and by the end of the day i realised that the speakers had taken us on a journey which involved close textual criticism overviews of the place of john james s work in contemporary poetry and personal reminiscence emphasis was placed on the role of music within the poetry and the importance of the visual arts to a man whose sense of the flâneur is still to be recognised in the laughter and wry awareness exhibited by the poet in the audience who turned to me at one point to say who is this poet i must get hold of some of his work the speakers included rod mengham whose equipage press has published both in romsey town 2011 and songs in midwinter for franco andrew taylor whose debt to james weaves its way through his own oystercatcher volume air vault simon smith ian heames peter riley drew milne and geoff ward spoke and read and by the end of the day there was a feeling that the success of this event was partly to do with the range of focus different takes on a common theme of respect for this poet whose first published volume had appeared half a century ago from andrew crozier s ferry press the poem pimlico was read first published in tears as was a theory of poetry twice and there was a beautifully produced gift from ian heames of his own finely published copy of the original street editions in comfrey blue there was a sense in the auditorium of what john james referred to in his poem beginning with a line of andrew crozier i reach toward the poetry of kindred where we speak in our work as we seldom do otherwise my review of sabots had ended with a simple statement about the book it is a tribute to the quietly unchanging in a fast changing world it s terrific the same could be said of the 2017 cambridge conference on the poetry of john james ian brinton 13th march 2017 share this email a link to a friend opens in new window email tweet more print opens in new window print share on tumblr share on reddit opens in new window reddit like this like loading 2 comments posted in conferences criticism english poetry and tagged andrew taylor john james peter hughes peter riley rod mengham simon smith bookmark the permalink the meaning of things poems and prose by elaine randell shearsman books posted on march 4 2017 by tearsinthefence there is an old saying about not judging other people until you have walked a mile in their shoes in her reminiscences about her father the concluding section of this powerfully moving new book elaine randell puts it slightly differently if anyone ever behaved badly or was criticised by my mother or me he would always say to know all is to forgive all you have to understand why people do certain things and behave in a certain way before jumping in elaine elaine randell s career in social work and psychotherapy complements her substantial work as a poet which stretches back to nos 3 4 of the curiously strong in november 1971 where she appeared alongside barry macsweeney in the official biography of jim morrison just 22 and don t mind dyin g two years later a short book of poems appeared from macsweeney s blacksuede boot press telegrams from the midnight country and it is one of these short pieces that lingers in my mind as i read randell s new volume from shearsman books see how the tree comes to ward a heavy wind here pesters loose wood sky steps are light the birds fly up ex static in an interview the american objectivist charles reznikoff suggested that poetry presents the thing in order to convey the feeling it should be precise about the thing and reticent about the feeling of course the feeling is there in the selection of material you pick certain things that are significant that s your feeling you don t go into the feeling you portray it as well as you can hoping that somebody else reading the poem will get your feeling now as part of that i should perhaps say that i try to be as clear and precise as possible my own belief is to name and to name and to name and to name in such a way that you have rhythm since music and i think george oppen would agree with me is also part of the meaning i m sure that randell would certainly agree with reznikoff and that early poem titled for you today would not look out of place in the 1934 objectivist press publication jerusalem the golden for instance look at the three lines of july in that reznikoff volume no one is in the street but a sparrow it hops on the glittering sidewalk and at last f...