This is a guide to works of mine on line (excluding those listed on the Van Valckenborch and Collaborations pages of this site). While I was enthusiastic before the turn of the century to make works accessible in this way, it hasn’t developed in any coherent way, then or since. My criticism, particularly, seems better served by print than by screen. The extent of the work available surprised me, but it’s an uneven summary. The best place to keep informed is on my blog Pages. Here.
Watch me launching Twentieth Century Blues at The Other Room in Manchester on 4th June 2008. Filmed by The Other Room team.
Part One, beginning with ‘A Dirty Poem and a Clean Poem for Roy Fisher’, C20 Blues 59, then ‘From a Stolen Book’ followed by a selection from ‘Empty Diaries’, the sequence with which I continues on the second video.12 minutes. Here.
Part Two, beginning with ‘Empty Diaries 1986, 1987 etc…’ 12 minutes. Here.
Both parts together here.
Also in 2008, I launched Twentieth Century Blues at the Bluecoat and was filmed by Ade Jackson, reading ‘A Dark Study for Lee Harwood’. Just 5 minutes. Here.
At the same reading I performed ‘Smokestack Lightning’, using carpet tapes made for Sub Voicive performances in the early 1990s. Here.
This can be alternatively viewed with the text here.
And the entire ‘Smokestack Lightning’ may be read here.
Much shorter, watch me reading ‘The Bird Poem’ from Berlin Bursts. Less than a minute. Filmed by Andrew Oldham in 2011. Here.
Just under two minutes, I read ‘Another Poem’ from Berlin Bursts. Here.
Jeff Hilson and I read Honda Hands here.
See Robert Hampson and Chris Gutkind read 'Liverpool Hugs and Kisses' here.
My 2014 research video may be seen here. Although it's also on the home page of this site.
Watch my 2014 Liverpool University reading (complete with set list) here.
See Van Valckenborch and Collaborations for more video links.
Here an audio version of ‘Smokestack Lightning’. It is different from the audio version.
I read a selection of my work on the splendid Archive of the Now here. Or you may select from the following links:
- 'History or Sleep'
- 'Internal Exile 1'
- 'Internal Exile 3'
- 'National Security, Huyton 1940'
- 'Only the Eyes are Left (for Mina Loy)'
- 'Small Voice'
- from 'Empty Diaries': 1905, 1936, 1954, 1968
There are further audio links on the Van Valckenborch pages.
Poetry and Prose
Some poems from Twentieth Century Blues were published on Lynx during relative early days of the internet. Note the antique print quality. Here.
The complete texts of my ‘Reading the Reader’, a prose reading of The Reader is here on Great Works.
My ambulatory/site-specific text Sudley House was realised as a guided tour/performance at Sudley House, Mossley Hill, Liverpool, in four shows on 6 and 12 November 2004, with Scott Thurston as second voice and presence. The performance text may be read here, again on Great Works. Click at the top from the page you find there to Preamble to Instructions before reading on. In 2012 I wrote a shorter version for the page or screen which may be read here.
Read some of the sonnets that make up Warrant Error called ‘September 12’. More available here.
Some more sonnets and other poems may be seen on the Eyewear feature on my work, here.
And further pieces from Warrant Error are here.
Two contrasting sonnets were published here, in English, the journal of the English Association, but long before I was elected a Fellow.
The title sequence of the book Berlin Bursts may be read here.
Three poems about Riga that appeared in Berlin Bursts are presented here.
‘The House of Opportunity’ was written for an art magazine that was one of the first cultural victims of the recession but was accepted for publication by the wonderful Ian Seed one afternoon and published on his excellent magazine Shadowtrain by the evening. See it here.
A feature on my work at Litter magazine here includes the opening of ‘Arrival’, part two of Words Out of Time my autrebiographies, here.
Here are two parts of the third part of Words Out of Time called 'When', here on Blackbox Manifold. (Via Pages link.) Another part mazy be read on Ikleftiko here.
Some parts of Unfinish appear on Otoliths here.
Two very different poems, my 'Ern Malley Suite' and my homage to Philip Jeck, 'Spectres of Breath' were published together in Blazebox here.
A prose piece dedicated to Sean Bonney, (from Unfinish) called ‘Bad Poetry for Bad People!’ is published here on Intercapillary Space.
All the poems 'de-selected' from my Selected Poems History or Sleep are accessible here. (They were de-selected for various reasons that you can read about.)
An early poetics piece, ‘Poetic Sequencing and the New’, which laid the foundations for the structure of Twentieth Century Blues, appeared both in Far Language and in Complete Twentieth Century Blues and in Jacket magazine here.
Read or download the e-book presentation my poetics/poems/notes The Anti-Orpheus here. It was part of my thinking of how to write after finishing Twentieth Century Blues.
A morphing essay, ‘The Necessity of Poetics’ is caught in one of its early forms on Pores. It was the beginning of my theorising about poetics as a speculative writerly discourse. I am an advocate for the way writers write about writing, a speculative discourse that is often misread as literary criticism or as autobiographical writing, but which is really a mode of writing quite distinct. Read ‘The Necessity of Poetics’ .
A very brief poetics piece, from 2015, a 200 word version of 'The Formal Splinter' was published by Harvey Hux' poetics project here.
My review ‘Elsewhere and Everywhere, other new (British) poetries’ on Iain Sinclair, ed. Conductors of Chaos: A Poetry Anthology, Picador, 1996, and Maggie O'Sullivan ed. Out of Everywhere: linguistically innovative poetry by women in North America & the UK, Reality Street, 1996, may be found here. This review-article was first published in Critical Survey, Volume 10, Number 1, 1998, and was posted on Lynx not much later.
Far Language - chapter by chapter - may be read here:
The (original) 'Introduction': here.
'Reading Prynne and Others': here.
'Far Language' (MacSweeney) here.
'Irregular Actions' (Allen Fisher) here.
'Timeless Identities' (Roy Fisher) here.
'Utopia Revisited' (John Ash) here.
'Flashlight Propositions' (Robert Sheppard's 1987 poetics) here.
'Education of Desire' (pedadgogic poetics) here.
'Commitment to Openness' (Roy Fisher, Lee Harwood, Tom Raworth) here.
'Poetic Sequencing and the New: Twentieth Century Blues' (poetics) here.
'Buoyant Readings' (J.H. Prynne, Bruce Andrews, Ken Edwards, Aaron Williamson and Gilbert Adair) here.
'Collosal Fragments' (Adrian Clarke) here.
'Tune Me Gold' (Maggie O'Sullivan here.
'Linking the Unlinkable' (poetics of Twentieth Century Blues) here.
'Adhesive Hymns' (Ulli Freer) here.
'Bob Cobbing: Soundings and Sightings' here.
The thoughts around the critical apparatus for the introduction of The Poetry of Saying may be accessed here.
My series of postings on Pages under the title ‘The History of the Other’ was really a re-casting of the historical chapters of The Poetry of Saying and they are best accessed via Peter Philpott’s gathering of them as a set of links here, where each is summarised. The links to the pages are shown below. Link on and scroll until you find the item. But first the thoughts behind its introduction may be read
1. The British Poetry Revival
2. Children of Albion
3. The Seventies: What the Chairman Really Told Tom
4. The 1970s (Continued): Poetry of Place/Poetry of Autonomy
5. Linguistically Innovative Poetry and Small Rooms in London
6. Cambridge: Towards a Community of Risk
7. Performance Writing
8. Out of Everywhere: Be(com)ing a Woman Poet
9. Anthologies and Assemblages
My ‘Sightings and Soundings of Bob Cobbing’, which appeared in Far Language may be read here.
My obituary of Bob Cobbing for The Guardian may be read here.
A brief introduction to my longer introduction to the 2015 edition of Cobbing's ABC in Sound may be read here.
My review ‘Where Treads of Death: Iain Sinclair : 'The Ebbing of the Kraft' appears here. It is an outtake of the research that resulted in Iain Sinclair, my study for Northcote House.
My review of Peter Barry’s Poetry Wars ‘Poets Behaving Badly’ was published on Jacket here. It led onto the first essay of When Bad Times which examines the social poetics of the Poetry Society’s forgotten ‘manifesto’.
My review of Ian Brinton’s fine Andrew Crozier Reader appears here.
My introduction to When Bad Times Made for Good Poetry may be read here. In it I say:
I have long held the view that the power of poetry is precisely that it both reveals itself – its poetic artifice is its undeniable facticity laid bare – and conceals itself, leaving the reader feeling that he or she has not finished, could indeed never finish, the work of reading. The text is inexhaustible in terms of both form and content and in terms of the unstable relationship between them. The writer is also strangely both present – as artificer – and simultaneously absent, from the poem; once the poem is read the only agent in or around the text is the reader. Any poem is thus a site of human unfinish twice over. I have long suspected that under, within or around, the language of a poem, lies another language, or aspect of language, perhaps a rhythmical energy, that is not reducible to discourse. As such, the poem seems to withdraw from social and historical comprehension, but this is only apparent. On occasions these aspects of otherness suggest alternative readings of reality, and reading poetry becomes an imaginative and transformative act, with political and ethical import. Poems evoke in the attentive reader a permanent state of potential astonishment. Analysis does not distil that thrill; it turns it to knowledge, something communal (and historical, because subject to change and revision), to be shared. A too literal critic is like a garrulous eunuch in the love dungeon.
When it came to it, I crossed out that last sentence at the proof stage. Rightly, I think.
Manifold links relating to my 'The Meaning of Form', and a summary of the whole may be read here.
One outtake of that project on form was an article on Christopher Middleton that was published in The Wolf magazine, and may be read here.
Supplementary Discourses in Creative Writing Teaching in Higher Education, which was written for the English Subject Centre in 2002, and may be read here.
The link should work but often doesn't. Use Google sensitively and you will find it.
The aims of the project were to determine the range and extent of the supplementary discourses currently in use, and to evaluate the functions of such discourses in terms of pedagogy and level, and to make recommendations about these discourses. The published report provides the basis for a developing pedagogy in creative writing teaching in the UK.