by Carmina Masoliver
‘The Place for Poetry’ conference at Goldsmiths took place from the 7-8th May, and I attended it with She Grrrowls, as well as within my poetry collective, Kid Glove.
The end of the first panel I’d attended discussed the importance of white space and the ole of images as part of the process, and linked nicely to the next panel about the relationship between visual art and poetry, which I was interested in due to my own project Poetry&Paint. Sophie Collins spoke of Mary Richardson’s defacement of Venus to highlight the hypocrisy of such an outcry, and she also touched on the Guerrilla Girls, leading to new kinds of art by women largely disregarded within ekphrastic poetry, and highlighting a collection entitled ‘In the Frame: Women’s Ekphrastic Poetry’, published in 2009.
The focus was a discussion of Rachael Allen’s 4chan poems. I hadn’t heard of the website ‘4chan’ before, but it seemed a unique concept to create poems from the basis of an image-based bulletin board, which — being the internet — provided useful commentary on the role of gender, acting as a platform for feminist art work.Continue Reading
by Alex Valente, in conversation with Cadi Cliff
This conversation starts in Norwich. The fault is mine, of course, as I start doubting my place within the Norwich Radical, and the role that I, as a translator of poetry, could possibly play in a radical, progressive, critical publication. Enter Cadi Cliff, editor and co-founder, green radical, and a mountain range of humanity.
This conversation, then, is a dialogue of sorts; a voicing of those doubts, translator to editor, reader to reader, uncertain radical to radical, on the place of translation, and poetry, within these virtual walls.
by Jack Brindelli
In the fallout of the Charlie Hebdo shootings, there are so many avenues of investigation that require a spectrum of analysis – and in due course the tragedy will no doubt be discussed from every angle, and in excruciating detail. Over the past week, there has been comparatively little debate on the idea supposedly central to the Parisian publication itself though – satire. In an age of seemingly perpetual outrage, offensive material is routinely accepted because it dresses in the clothes of ‘satire’. But in the wake of Charlie Hebdo, somebody needs to ask the question “what exactly is satire, and who should it serve?”