One Night Stanzas

Song

1.

Pu oot yer banjo, boy, n strum
at yon fu moon

till ye nip the prood violet’s
wheezy reek

fae teeth n nose n mooth.

2.

Pu oot yer banjo, boy, n pluck
the fucker

till ma hert strings snap n whip
the raw rank erse ae the wirld

wi memory like the putrid seas ae Jupiter.

3.

Pu oot yer banjo, boy –

lazy bam in yer lazy bed wi yer
sweetened songs n yer honey dream rhymes.

Ah wull dance, dammit! - n let the rollin waves
spill oan the frozen shore,
till midnight wirds
ir whisperin tendrils ae shivering
ecstasy nae mair.

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If you’ve been reading this blog for any decent amount of time, you’ll know I love the work of Stephen Nelson. One of the best and most prolific concrete/vispo poets working in Scotland today, Stephen’s been published in a wide variety of places, including the wonderful anthology The Last Vispo, which I’d highly recommend to anyone (especially if you’re not sure what all this vispo fuss is about, but you think you’d like to try it). Most recently, he’s brought out a collection with the wonderful Knives Forks and Spoons Press, who are soon to close their doors — sad times, indeed. But they’ve really gone out with a bang by publishing Lunar Poems for New Religions, a collection which, prior to publication, was shortlisted for the prestigious Crashaw Prize… and I can see why.

Lunar Poems for New Religions is a book inspired by the moon, in every sense. Its second section, Crescent, mimics the rhythm of the lunar cycle, beginning with a very simple concrete piece:

mo( )on

Thereafter, the poems wax and wane. Some are sparse, concrete pieces that use the white space of the page to great effect; interspersed among them are short, prose-style poems that seem lush and full alongside their neighbours. Stephen has arranged — I almost want to say timed — all of this to perfection, though, as it never feels jarring. Rather, it is smooth and organic. And the poems are filled with confident, powerful lines. In ‘Ask Tracey’, for example, I was struck by, “Whenever I touched you who felt the shock but us.”

The first section of the book, The Moon from my Windowless Heart, is a totally different beast. ‘Song’, the poem above, is the first to appear in the section, and it is followed by ‘LOOK UP!’, one long, two-part poem that in places is almost theatrical monologue. This section is in Scots, which I found surprising and wonderful. ‘LOOK UP!’ reminded me very much of poems from the Beat Generation — lines like:

Next mornin up tae tantric storms aboot ma heid,
dark mind clouds explodin brain sparks ae lightnin,
cartoon hero cut fae technicolour dream cloth,
rinsed oot & hung in the sky like a sinkin moon.

The whole collection pulses with a weird and brilliant energy, combining Stephen’s expert knowledge of the page’s potential as shape, as canvas, with strong, rhythmic phrasing and pin-sharp imagery. It’s only January, but I’ll be shocked if I find a more original, enjoyable collection to top it this year. I’m calling my Top Poetry Read of 2013, folks! And you can buy it right here!

(You can — and you really, really should — also visit Stephen’s great blog, afterlights, to see more of his work.)

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Want to see YOUR poem featured on ONS? Read this post first: submission guidelines are at the bottom. Good luck!

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You can also visit Read This Press for more poetry (and typewriter paraphernalia!). Alternatively, check out Edinburgh Vintage, our sister site. If you want to get in touch you can follow OneNightStanzas on Twitter, or email claire[at]onenightstanzas.com. I reply as swiftly as I can!

Today I had a very exciting and highly informative meeting with one Mr Nic Cameron, a graphic design student at Edinburgh’s Telford College (full disclosure: for my sins, I work here). Nic is a music enthusiast and former scribbler of poems, and for one of his big course projects, he’s decided to do something very ambitious and pretty darned innovative: create his own hybrid poetry/spoken word and music magazine.

In our meet-up, Nic outlined his reasons for choosing this particular path. Although he hasn’t written poetry himself for a while, he is still very aware of the question, “why don’t more people read poems?” Like many youngsters, he’s bugged by how inaccessible the poetry world sometimes seems. He’s also aware that music magazines can and do attract the kind of people who might like poems, if they only had the chance to see and hear some. His project aims to kill all these problematic birds with one stone. Music magazines have the ability to pull in loads of readers — why not add some poetry into the mix? That way you’d introduce poetry to a new, young audience — and vice-versa.

Personally, I think thought this was a great idea — even more so when I heard a few more details. Article-8, as the magazine has been dubbed, will be a long way from your standard print poetry journal. Nic showed me examples of concrete poetry that had got him fired up, and then talked to me about the potential for changing the way poems interact with the page. In short, he wants to put his graphic design skills to use when editing the magazine together: he’s looking for poets who’d be cool to have their words snaked across the page or ribboned through videos in weird and wonderful shapes… shapes determined by a graphic artist’s eye.

Nic is also looking for poets who’d be willing to supply audio recordings of themselves reading their poems. As well as a print magazine, Article-8 will also become a website and a smartphone app. Performance and sound are two things that link poetry and music, and it seems they’ll be integral to this publication. Nic can help you record good quality audio if you’d be willing to meet with him — or if you’ve already got your own clean recording, you can send it to him with your written work.

In short, Article-8 is looking for brave, open-minded poets who are willing to put their words into the hands of a smart, ambitious graphic artist and see what the results might be. This is a great chance to collaborate and learn about how the shape of your poem changes how it’s read and seen. It’s also a chance to get involved in a conversation about how we make poetry more relevant and interesting to young people — a conversation that really needs to be had. If you fancy offering up some of your work (and, if you’re willing to meet for a recording session, a wee bit of your time) for this excellent cause, then read the blurb below, and submit some stuff to nicholas[dot]cameron[at]live.co.uk.

I’m Nic Cameron – a graphic design student from Edinburgh’s Telford College and I have this mad idea… as a working title I’m calling it ‘Article-8 Magazine’ and here’s the gist:

What would the birth-child of a spoken word/poetry journal and a music magazine look like? Could clever typography and design let words speak in the absence of a voice – would bold features, useful articles and engaging content allow the format to reach out to a new, younger and broader audience?

These are questions I’m trying to answer in my final project but I need writers on board to help generate content and volunteer their work for this venture. If you’d like to see a visual interpretation of your writing - now’s the chance. For the project I’d be looking to produce 8 double page spreads, 2 front covers, 2 kinetic type videos, a website and a smart phone app and I need relevant writing/performance for all of these. I’d ask that those who want to donate audio for the videos could arrange with me to be recorded on a good microphone - I’ll take care of the technical side, you just need to read into the machine!

Unfortunately - because this is to a limited timescale there is a chance that not all the work submitted will be used - that said, if this prototype receives positive reviews it may become a much larger beast in the future. I had completely underestimated the excitement this would generate.

This would be non-profit and unreleased. However, if I use your work, you will be able to use the visuals wherever you see fit.

Interested in this idea? Please email a short bio (150 words or so) and two samples of work to nicholas[dot]cameron[at]live.co.uk”

I’m sure Nic would be more than willing to answer any questions you might have about the process, too! Happy submitting, and GOOD LUCK to Nic for what I’m sure will be a great project!

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You can also visit Read This Press for more poetry (and typewriter paraphernalia!). Alternatively, check out Edinburgh Vintage, our sister site. If you want to get in touch you can follow OneNightStanzas on Twitter, or email claire[at]onenightstanzas.com. I reply as swiftly as I can!

(Photo credit)

I meet a lot of poets — I mean a lot — in my work as a lecturer and tutor, and in my own literary, writing-related travels. I like hearing and talking about other people’s writing processes, and in particular, their creative comfort zones. I believe that good creative writing teaching is all about encouraging students to venture into new, and sometimes intimidating, territory; encouraging them to use techniques they never thought they’d master. And something I hear again and again from the poets I meet is, “I wish I had a better understanding of form.”

Poetic forms can be intimidating. They can appear very tricky — and to some people, they also appear stuffy and outdated. But there’s more to poetry than just free verse. The use of a specific poetic form introduces a new kind of challenge into the writing process. Working in this way lends discipline to our creative practice. It also informs our subsequent writing, giving poets a newfound understanding about and confidence with rhyme and rhythm; even with the shape of the page and what it means.

Perhaps you’re like many of the poets I meet: comfortable working in free verse but intimidated by more fixed, traditional forms? Maybe you’re primarily a performance poet and the world of the page is a mysterious place for you? Perhaps you’ve already tackled sonnets but you’re curious about their strange cousins, the sestina and the villanelle? Or perhaps you just fancy meeting with like-minded writers and getting some feedback from an experienced, published poet and creative writing teacher.

This course is for writers who are already somewhat familiar with poetry, but who are looking for a new challenge. It is designed for a small group of six to ten people, and will be delivered in a sunny, book-filled flat in Tollcross, Edinburgh, just off the Meadows. Each week, you’ll learn about a different poetic form, from ancient haiku to super-contemporary vispo. Sessions last two hours, and a significant part of each will be given over to allowing you time to write your own poems using the forms you’ve learned about, and to experiment with new ideas.

The course costs a total of £96 per person, which works out at £16 per two-hour session. It will begin on Thursday 3rd May and run until Thursday 7th June. Classes take place on Thursday evenings between 6.30pm and 8.30pm.

For more information or to sign up, please contact claire@onenightstanzas.com

Course outline

Week One, Thursday 3rd May: THE SONNET
An introductory session focussing on the sonnet form, from Petrarch to Shakespeare to Billy Collins and beyond. Learn how to construct the perfect love sonnet, or expand on your sonnet-ish knowledge and learn how to use this old form with a new twist.

Week Two, Thursday 10th May: THE VILLANELLE
Find out why Dylan Thomas chose the villanelle to craft what must be one of the world’s most famous poems, and try your hand at choosing your own timeless refrains.

Week Three, Thursday 17th May: THE SESTINA
One of the trickiest forms out there — get this right and you’ll earn serious poetic respect. This class will challenge you but hopefully also delight and enlighten you as we de-mystify the six-headed beast.

Week Four, Thursday 24th May: CONCRETE AND VISUAL POETRY
Form isn’t just about counting syllables. Scotland is famous for its brilliant, innovative concrete poetry courtesy of Ian Hamilton Finlay, Edwin Morgan and others. Find out what all the fuss is about and build your own concrete pieces.

Week Five, Thursday 31st May: OULIPO AND THE LONG FORM
Never heard of Oulipo? It’s all about setting yourself challenges to see how your writing responds. Rather like choosing to write your own epic or book-length poem. Come and see how it’s done.

Week Six, Thursday 7th June: HAIKU AND THE SHORT FORM
Find out what the shortest poem in the world is, and see if you can beat its tiny word count. Learn about short forms from ancient haiku to the American Sentence. Write (and, if you want to, share) your own tiny, perfect poems.

Getting to Grips with Poetic Form is taught by Claire Askew. Claire is a widely-published and multi-award winning poet, whose work has appeared in The Guardian, Poetry Scotland, The Edinburgh Review, PANK and Popshot, among others. Her debut pamphlet collection, The Mermaid and the Sailors, was published by Red Squirrel Press in early 2011, and was shortlisted for a 2010 Eric Gregory Award. A poem from the collection also won the 2010 Virginia Warbey Poetry Prize. Claire was recently awarded a 2012 Scottish Book Trust New Writers Award.
Claire graduated summa cum laude from the University of Edinburgh’s MSc in Creative Writing in 2009, for which she was awarded the William Sharpe Hunter Memorial Scholarship. She is now reading for a PhD in Creative Writing, also at the University, and she has a PDA in Adult Education. As well as teaching creative writing privately, Claire also tutors in the subject for the University of Edinburgh’s Scottish Universities International Summer School. In addition, she has worked as a Lecturer in Literature and Communication at Edinburgh’s Telford College for the past three years. You can find out more about Claire and her work here.

Testimonials

“Claire is super helpful, friendly and very communicative… never a dull class. Very informative and easy to follow!” — Jules, illustrator

“The best thing was Claire, the teacher! I enjoyed the methods that she used. I thought she was awesome.” — Alan, trainee primary teacher

“Always constructive feedback!” — Persia, student

To sign up, or for more information on any aspect of this course, including payment, please contact claire@onenightstanzas.com

(Photo credit)