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Still Not a British Subject: Race and UK Poetry
Editorial How to Cite: Parmar, S. 2020. Still Not a British Subject: Race and UK Poetry. Journal of British and Irish Innovative Poetry, 12(1): 33, pp. 1–44. DOI: https:// doi.org/10.16995/bip.3384 Published: 09 October 2020 Copyright: © 2020 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and repro- duction in any medium, provided the original author and source are credited. See http://creativecommons. org/licenses/by/4.0/. Open Access: Journal of British and Irish Innovative Poetry is a peer-reviewed open access journal. Digital Preservation: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service. The Open Library of Humanities is an open access non-profit publisher of scholarly articles and monographs. Sandeep Parmar, ‘Still Not a British Subject: Race and UK Poetry.’ (2020) 12(1): 33 Journal of British and Irish Innovative Poetry. DOI: https://doi. org/10.16995/bip.3384 EDITORIAL Still Not a British Subject: Race and UK Poetry Sandeep Parmar University of Liverpool, UK [email protected] This article aims to create a set of critical and theoretical frameworks for reading race and contemporary UK poetry. By mapping histories of ‘innova- tive’ poetry from the twentieth century onwards against aesthetic and political questions of form, content and subjectivity, I argue that race and the racialised subject in poetry are informed by market forces as well as longstanding assumptions about authenticity and otherness. -
Poetic Reformulations of Dwelling in Jo Shapcott, Alice Oswald, and Lavinia Greenlaw
Homecomings: Poetic reformulations of dwelling in Jo Shapcott, Alice Oswald, and Lavinia Greenlaw Janne Stigen Drangsholt, University of Stavanger Abstract In the study The Last of England?, Randall Stevenson refers to the idea of landscape as “the mainstay of poetic imagination” (Stevenson 2004:3). With the rise of the postmodern idiom, our relationship to the “scapes” that surround us has become increasingly problematic and the idea of place is also increasingly deferred and dis- placed. This article examines the relationship between self and “scapes” in the poetries of Jo Shapcott, Alice Oswald and Lavinia Greenlaw, who are all concerned with various “scapes” and who present different, yet connected, strategies for negotiating our relationships to them. Keywords: shifting territories; place; contemporary poetry; postmodernity In The Last of England?, Randall Stevenson points to how the mid- century renunciation of empire was followed by changes that need to be understood primarily in terms of loss. Each of these losses are conceived as marking the last of a certain kind of England, he says, and while another England gradually emerged, this was an England less unified by tradition and more open in outlook, lifestyle, and culture, in short, a place characterised by factors that render it more difficult to define (cf. Stevenson 2004: 1-10). Along with these losses in terms of national character, Stevenson holds, the English landscape also seemed to be increasingly imperilled. While this landscape had traditionally been “the mainstay of poetic imagination” it now seemed in danger of disappearing, as signalled in Philip Larkin’s poem “Going, Going”, where he laments an “England gone, / The shadows, the meadows, the lanes” (Stevenson 2004: 3). -
Great Writers Inspire at Home
Thursday 27 April ‘Readers and Reading’ Thursday 4 May Kamila Shamsie Thursday 11 May GREAT Bernardine Evaristo Thursday 18 May WRITERS Daljit Nagra Thursday 25 May D-Empress Dianne INSPIRE Regisford Thursday 1 June AT HOME Nadifa Mohamed a series of conversations Thursday 8 June between writers & readers Aminatta Forna Thursday 15 June Editors and contributors, The Cambridge History of Black and Asian British Writing Monday 26 June M. NourbeSe Philip This series runs in place of the English Faculty Postcolonial Writing and Theory Seminar in Trinity Term 2017. 5 pm Seminar Room, 3rd Floor, Radcliffe Humanities Building, Woodstock Rd, Oxford www.writersmakeworlds.com GREAT WRITERS INSPIRE AT HOME A series of workshop discussions hosted jointly by the Oxford English Faculty and The Oxford Research Centre in the Humanities (TORCH). 5 – 7 pm, Thursday weeks 2–8; Monday week 10 Seminar Room, 3rd Floor, Radcliffe Humanities Building, Woodstock Road, Oxford (except 25 May) The series runs in place of the English Faculty Postcolonial Writing and Theory seminar in Trinity Term 2017. We return to our fortnightly programme of talks and discussion at Wadham College, chaired by Elleke Boehmer and Ankhi Mukherjee, in Michaelmas Term 2017. All are welcome to these workshops. www.writersmakeworlds.com Great Writers Inspire at Home will bring together a number of contemporary British writers to discuss how literary writing, both novels and poems, shapes readers’ perceptions of the contemporary world. Focusing specifically on current Black and Asian British writing, our primary focus in the project is the experience of reading. The primary focus is the experience of reading: we will think about the ways in which readers respond to writing and writers appeal to readers. -
Post 1914 Poems
POST 1914 POEMS Students must also recite one poem published in or after 1914. For school/college competitions, they can choose from EITHER the Timeline Anthology (listed below and available on poetrybyheart. org.uk) OR the First World War Poetry showcase on the website. 148 Craig Raine - A Martian sends a 179 Seamus Heaney - St Kevin and the blackbird postcard home 180 Grace Nichols - Blackout 149 Rita Dove - Ö 181 Alice Oswald - Wedding 150 Linton Kwesi Johnson - Sonny’s lettah 182 Imtiaz Dharker - Minority 151 Carolyn Forché - The colonel 183 Paul Farley - A minute’s silence 152 Tony Harrison - Timer 184 Jane Draycott - Prince Rupert’s drop 153 Patricia Beer - The lost woman 185 Michael Donaghy - Machines 154 James Fenton - God, a poem 186 Denise Riley - A misremembered lyric 155 Peter Porter - Your attention please 187 Benjamin Zephaniah - It’s work 156 Kit Wright - The boys bump-starting the 188 Sean O’Brien - Cousin coat hearse 189 Ian Duhig - The Lammas hireling 157 David Dabydeen - Catching crabs 190 Don Paterson - Waking with Russell 158 U.A. Fanthorpe - The cleaner 191 Choman Hardi - Two pages 159 Wendy Cope - Proverbial ballade 192 Michael Symmons Roberts - Pelt 160 Sujata Bhatt - What is worth knowing? 193 Kamau Brathwaite - Bread 161 Gwendolyn Brooks - Boy breaking glass 194 Colette Bryce - The full Indian head trick 162 Kathleen Jamie - The way we live 195 Owen Sheers - Mametz Wood 163 Paul Muldoon - Meeting the British 196 John Agard - Toussaint L’Ouverture 164 Gillian Clarke - Border acknowledges Wordsworth’s sonnet “To 165 Carol Ann Duffy - Originally Toussaint L’Ouverture” 166 Eavan Boland - The black lace fan my 197 Daljit Nagra - Look we have coming to Dover mother gave me 198 Jean Sprackland - The stopped train 167 Maura Dooley - Explaining magnetism 199 Patience Agbabi - Josephine Baker 168 Mimi Khalvati - Rubaiyat finds herself 169 Lavinia Greenlaw - Love from a foreign city 200 Mick Imlah - Maren 170 Glyn Maxwell - The eater 201 E.A. -
Change, Uncertainty & Love's Power Celebrated in 2020 Forward Prizes
Media Release EMBARGOED TO SUNDAY 5.00pm, 25 October 2020 Change, uncertainty & love’s power celebrated in 2020 Forward Prizes The winners of The Forward Prizes for Poetry 2020 announced this afternoon (Sunday 25 Oct) in an online celebration of poetry hosted by the British Library are: Forward Prize for Best Collection (£10,000) Caroline Bird – The Air Year (Carcanet) Felix Dennis Prize for Best First Collection (£5,000) Will Harris - RENDANG (Granta) Best Single Poem (£1,000) Malika Booker - ‘The Little Miracles’ (Magma) Caroline Bird’s audacious and erotically charged collection The Air Year is named for the hurricane of a new relationship, the time before the first or ‘paper’ anniversary: in the year of coronavirus, the title has taken on an eerie double meaning. Will Harris’s debut RENDANG tackles his mixed-race heritage, considering family, borders, transience and the need for ‘a voice capacious enough to be both me and not-me’. Malika Booker’s ‘The Little Miracles’ is a tender account of caring for her mother in the aftermath of a stroke. 2 The chair of the 2020 jury, writer, critic and cultural historian Alexandra Harris, commented: ‘We are thrilled to celebrate three winning poets whose finely crafted work has the protean power to change as it meets new readers.’ The Forward Prize for Poetry, founded by William Sieghart and run by the charity Forward Arts Foundation, are the most prestigious awards for new poetry published in the UK and Ireland, and have been sponsored since their launch in 1992 by the content marketing agency, Bookmark (formerly Forward Worldwide). -
Poetry Anthology (Post-2000)
FHS English Department ENGLISH LITERATURE Poems of the Decade: Forward Poetry Anthology (Post-2000) Assessment: Paper 3 Poetry Section A One question from a choice of two, comparing an unseen poem with a named poem from the anthology (30 marks) 1 hour 7 minutes AOs AO1 Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression AO2 Analyse ways in which meanings are shaped in literary texts Terminology *A full glossary of terms can be found on the S Drive/English/KS5/Literature/Poetry Glossary Overview of Poems, Poets and Themes EAT ME CHAINSAW VERSUS THE PAMPAS MATERIAL HISTORY AN EASY PASSAGE Patience Agbabi GRASS Ros Barber John Burnside Julia Copus Simon Armitage This poem looks at the idea of a This poem considers the relationship This poem considers the transition be- This poem considers the significance of This poem centres around the journey ‘feeder’ role within a relationship, between man made, physical objects, tween childhood and adulthood, and historical events, particularly the World of a young girl sneaking into her house, using an unusual structure of tercet with nature and the natural world, spe- the narrator’s nostalgia for a less con- Trade Center attacks in September presented in a surreal format which stanzas and a notable semantic cifically using the symbolism of a chain- sumer-driven world through the de- 2001. Burnside is a Scottish poet, born helps to create a distinctive narrative field. Agbabi is a performance poet saw to show man’s interaction. scription of a traditional handker- in 1955 in Fife. -
18-Pressrelease-Npcwinner Layout 1
Dom Bury wins National Poetry Competition for his poem ‘The Opened Field’ Judges Hannah Lowe, Andrew McMillan and Pascale Petit praise the winning poem’s “mnemonic force” and describe it as a “neutron star of a poem compressed inside the restraining machinery of a sestina” PRESS RELEASE Dom Bury. Photo: Jenny Jacobs. Strictly embargoed until 7.30pm, 28 March 2018 Out of more than 13,000 poems entered for this year’s award, Dom Bury’s poem ‘The Opened Field’ has been chosen as the winner of the National Poetry Competition, winning him £5,000. Judges Hannah Lowe, Andrew McMillan and Pascale Pettit selected the winning poem from an astounding pool of entries from over 70 countries worldwide - maintaining the competition's position as one of the world's biggest international open poetry competitions for single poems. The darkly allegoric winning poem surrounds six boys in a field enacting a disturbing coming-of-age ritual, and is told with a driving rhythm and mantra-like repetitions. The poem interrogates themes of unchecked masculinity, exploring our destructive relationship with each other and with the natural world. The barbaric impulses enacted are interwoven to offer us a sombre and precisely wrought ecological and social fable for our times. (The poem appears on p. 6 of this release.) Pascale Petit commented: “‘The Opened Field’ is a neutron star of a poem compressed inside the restraining machinery of a sestina... I marvelled at the way I found yet another layer each time I returned to this poem and still thought I had not quite got to the bottom of it. -
Barbarian Masquerade a Reading of the Poetry of Tony Harrison And
1 Barbarian Masquerade A Reading of the Poetry of Tony Harrison and Simon Armitage Christian James Taylor Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English August 2015 2 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others This copy has been supplied on the understanding that it is copyright material and that no quotation fro m the thesis may be published without proper acknowledgement The right of Christian James Taylor to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. © 2015 The University of Leeds and Christian James Taylor 3 Acknowledgements The author hereby acknowledges the support and guidance of Dr Fiona Becket and Professor John Whale, without whose candour, humour and patience this thesis would not have been possible. This thesis is d edicat ed to my wife, Emma Louise, and to my child ren, James Byron and Amy Sophia . Additional thanks for a lifetime of love and encouragement go to my mother, Muriel – ‘ never indifferent ’. 4 Abstract This thesis investigates Simon Armitage ’ s claim that his poetry inherits from Tony Harrison ’ s work an interest in the politics o f form and language, and argues that both poets , although rarely compared, produce work which is conceptually and ideologically interrelated : principally by their adoption of a n ‘ un - poetic ’ , deli berately antagonistic language which is used to invade historically validated and culturally prestigious lyric forms as part of a critique of canons of taste and normative concepts of poetic register which I call barbarian masquerade . -
Poetry Anthology GCSE English and GCSE English Literature
Edexcel GCSE Poetry Anthology GCSE English and GCSE English Literature The Edexcel GCSE Poetry Anthology should be used to prepare students for assessment in: English 2EH01 - Unit 3 English Literature 2ET01 - Unit 2 Published by Pearson Education Limited, a company incorporated in England and Wales, having its registered office at Edinburgh Gate, Harlow, Essex, CM20 2JE. Registered company number: 872828 Edexcel is a registered trade mark of Edexcel Limited © Pearson Education Limited 2009 First published 2009 12 11 10 09 10 9 8 7 6 5 4 3 2 1 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978 1 84690 641 1 Copyright notice All rights reserved. No part of this publication may be reproduced in any form or by any means (including photocopying or storing it in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright owner, except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London, EC1N 8TS (www.cla.co.uk). Applications for the copyright owner’s written permission should be addressed to the publisher. Picture research by Alison Prior Illustrated by Bob Doucet Printed and bound by Ashford Colour Press Ltd., Gosport See page 72 for acknowledgements. Contents Collection A: Relationships 1 Collection B: Clashes and collisions 19 Collection C: Somewhere, anywhere 37 Collection D: Taking a stand 55 Collection A Relationships Valentine 2 Carol Ann Duffy Rubbish at Adultery 3 Sophie Hannah Sonnet 116 4 William Shakespeare Our Love Now 5 Martyn Lowery Even Tho 6 Grace Nichols Kissing 7 Fleur Adcock One Flesh 8 Elizabeth Jennings Song for Last Year’s Wife 9 Brian Patten My Last Duchess 10 Robert Browning Pity me not because the light of day 12 Edna St. -
2018 Forward Prizes for Poetry Announce “Urgent, Engaged and Inspirational” Shortlists
MEDIA RELEASE | IMMEDIATE RELEASE, THURSDAY 24 MAY 2018 2018 FORWARD PRIZES FOR POETRY ANNOUNCE “URGENT, ENGAGED AND INSPIRATIONAL” SHORTLISTS Nuclear stand-off, new-born lambs, sex, Hollywood blockbusters, and addiction - Britain’s most coveted poetry awards, the Forward Prizes for Poetry, have today announced shortlists dominated by “urgent, engaged and inspirational” voices tackling complex subjects with brio. The chair of the 2018 jury, the writer, critic and broadcaster Bidisha, said: “In reading for this year’s Forward Prizes, the other judges and I discovered an art form that is in roaring health. We read countless collections full of wonder and possibility, light but not trivial, serious but not depressing, lushly emotional but not sentimental, frequently witty and capable of great craft and zingy modernity. “Our shortlists represent the stunning variety and breadth of poetry today, with contemporary international voices that are urgent, engaged and inspirational.” The Forward Prizes for Poetry celebrate the best new poetry published in the British Isles. They honour both established poets and emerging writers with three distinct awards: Best Collection, Best First Collection and Best Single Poem. They are sponsored by Bookmark Content, the content and communications company. The 2018 Forward Prize for Best Collection (£10,000) Vahni Capildeo – Venus as a Bear (Carcanet) Toby Martinez de las Rivas – Black Sun (Faber) J.O. Morgan – Assurances (Cape) Danez Smith – Don’t Call Us Dead (Chatto) Tracy K. Smith – Wade in the Water (Penguin) -
Mona Arshi Was a Human Rights Lawyer Who Retrained As a Poet
Mv , The Cinnamon Club th Poetry Evening – Monday 12 May 2014 Sathnam Sanghera was born to Punjabi parents in the West Midlands in 1976, attended Wolverhampton Grammar School and graduated from Christ’s College, Cambridge with a first class degree in English Language and Literature in 1998. Between 1998 and 2006 he was at The Financial Times, where he worked (variously) as a news reporter in the UK and the US, specialised in writing about the media industries, worked across the paper as Chief Feature Writer, and wrote an award-winning weekly business column. Sathnam joined The Times as a columnist and feature writer Sathnam Sanghera in 2007, reviews cars for Management Today and The HOST has presented a number of radio documentaries for the BBC. Daljit Nagra comes from a Punjabi background. He was born and raised in London then Sheffield. He has won several prestigious prizes for his poetry. In 2004, he won the Forward Prize for Best Individual Poem with Look We Have Coming to Dover! This was also the title of his first collection which was published by Faber & Faber in 2007. His second collection, Tippoo Sultan’s Incredible White-Man Eating Tiger-Toy Machine!!! was shortlisted for the TS Eliot Prize. His current book, Ramayana, is shortlisted for the TS Eliot Prize. Daljit’s poems have been published in New Daljit Nagra Yorker, Atlantic Review, London Review of Books, Times Literary Supplement, Poetry Review, Poetry London, Poetry International, Rialto and The North He is a regular contributor to BBC radio and has written articles for The Financial Times, The Guardian, The Observer, and The Times of India. -
Portfolio Editor
Portfolio Editor Editorships including co-editing NW15 (Granta/British Council) and Ten: New Poets (Bloodaxe). Guest-edited the Winter 2012 issue of Poetry Review, Britain’s leading poetry journal. Her issue, Offending Frequencies, featured more poets of colour than had ever previously been published in a single issue of the journal, as well as many female, radical, experimental and outspoken voices. Bernardine also co-edited a special issue of Wasafiri magazine in 2009: Black Britain: Beyond Definition, which celebrated and reevaluated the black writing scene in Britain; and she guest-edited the Autumn 2014 issue of Mslexia, Britain’s best-selling writing magazine. Supervising Editor of The Imagination Project, Brunel University London’s third student short story anthology, with student editors, March 2016. Supervising editor of The Psyche Supermarket, Brunel University London’s second student short story anthology, with student editors, March 2015. Guest Editor of Mslexia writing magazine, September 2014. Supervising editor of The Voices Inside Our Heads, Brunel University London’s first student short story anthology, with student editors, March 2014. Guest editor of Wasafiri: Issue 64, 2010, with Karen McCarthy Woolf. Guest Editor of Britain’s leading poetry magazine in its centenary year, Poetry Review: 101:4. Offending Frequencies. Winter 2012. Editor with Daljit Nagra of Ten poetry anthology, featuring ten new poets of colour. Bloodaxe Books, 2010. Co-editor with Maggie Gee of NW15: New Writing Vol 15, the annual British Council literature anthology. Granta, 2006. In the late 1990s I was editor of FrontSeat intercultural performance magazine published by the Black Theatre Forum, in the late 1980s I was a co-editor of Black Women Talk Poetry anthology.