One Sunday, in the quiet folds of The Albany in Deptford, a group of womxn came together to talk about our place in the arts, and specifically poetry. We came to listen, to write, and to share our voices.
The city centre smells of McDonald’s
and SPF stands for exactly what you think
I was invited to the premiere of Bad Faith, a collaborative piece by by English poet, Jemima Foxtrot, Belgian choreographer, Tara D’Arquian and Icelandic designer Fridthjofur Thorsteinsson. They worked with poetry, lighting design and dance to explore Sartre’s concept of bad faith through themes of womanhood and loss.
by Lewis Buxton
Spoils is a poised and lyrical second collection from James Brookes. One of the first publications from new independent press Offord Road Books, Spoils enters the world at a time when nationalism, truth, and accessibility to literature are at the forefront of political and poetic conversation.
I was told that The Empty Horizon was a sequence of poems written in the voice of Roisin, a writer and illustrator of children’s books who is losing her sight due to the genetic condition Retinitis Pigmentosa. Initially, I wondered why – if Rosin is a writer – why she could not write these poems herself. Although it seems obvious that there is a mutual relationship established, why should a man tell the story of a woman who is a writer, and thus capable of writing it herself? Although losing her sight, as a writer, would it not be better to tell her own story through her own spoken words, rather than Carney being the author of this text?
by Chris Jarvis
They talk of dreaming spires
sleeping beneath them is routine
Crammed into a shop front
derailed carriage lost steam
Through the spiralled alleyways
off the beaten track
A dampen sodden mattress
a man laid on his back
Inspired by my experience of Being a Man Festival, I attended an evening in appreciation of poet and educator, Jacob Sam-La Rose. The night consisted of speeches and moving poetry in tribute to his teachings. The energy was reminiscent of the Burn After Reading nights, and despite this occasion being a one-off, it captured what I love about live literature events. Often, it can seem that poetry is such a niche medium, that outsiders can struggle to find their place. However, these spaces provide a place where people can share both pain and joy, and connect with others through words. Sam-La Rose is mostly known for the incredible work he does with young people. He has tremendous influence on poetry today, and on the opportunities that many young people have to be exposed to, and enveloped by, this art form. It comes as no surprise then to read on the back cover of Breaking Silence, that his work ‘is grounded in a belief that poetry can be a powerful force within a community’.
It felt right to return to the well-thumbed pages of my copy of Sam-La Rose’s debut book-length collection from Bloodaxe, one of the most reputable poetry publishers in the UK. Breaking Silence was shortlisted for the Forward Prize for Best First Collection and the Aldeburgh First Collection Prize, but many feel it has not had the recognition it deserves. Linking with themes from Being a Man Festival, the collection explores issues of manhood and masculinity, and how these intersect with race and dual heritage, as well as broader issues of identity.