I reviewed Don Paterson’s The Fall at Home: New and Collected Aphorisms for the Poetry School. Thanks are due there for taking a punt on what is ultimately not-actually-even-poetry. What exactly aphorisms are is still not clear to me, but I’ve enjoyed trying to work it out. I do think more people would enjoy them if they knew more about them.Continue reading
Ticker-tape, engages with [the] problem: how do you make art in a world dominated by money? …the collection swarms with images of ‘love and capitalism’ in the capital, the two forces depicted as both manufactured and manufacturing one other, but ultimately productive of something hopeful.
Sean Wai Keung’s debut pamphlet won The Rialto‘s open competition and I liked it a lot. The full review is online on London Grip:
“…I want to say that I kept being reminded of Wendy Cope. There’s the satire, the humour, the tenderness, the bracing honesty. And there’s something else too. Like Cope, Wai Keung knows what poetry looks like from the outside: how little most of it is regarded or read, how curious its obsessions look. But also its fundamental value:
+ i said i just want some poems
why are there no poems in this city
‘Larkinworld’ was at the Poetry Library on the South Bank. Read the full article on London Grip.
“Larkin’s poems [share] pop’s aphoristic quality: he says things about the world that people want to share with others. If you listen, you begin to notice lines in all kinds of unlikely places. U.S. indie band The National’s most recent album borrows from both The Less Deceived and High Windows. The lines make the transition into lyrics so well that no one seems to have noticed.”