Poetic People: Wendy Cope at UCS, Ipswich

Waiting our turn at the book table, with Dr Antonella Castelvedere and Dr Paolo Trimarco ...

Wendy Cope with Dr Paola Trimarco

Wendy Cope with Dr Paola Trimarco and David Gill

Book signing ...

... and conversations.

University Campus Suffolk, view from the Waterfront Building

I have just come in from University Campus Suffolk on the Waterfront in Ipswich, where staff and students in the English subject area were hosting an event with Wendy Cope. The reading was open to all who had applied for a ticket, and it was good to be joined by members of my Gainsborough Community Library Writing Workshop and by friends from the monthly Poetry Cafe at Arlington's.

I have heard Wendy Cope once before - some years ago at the Hay Festival in a massive tent. This afternoon's event was a much more intimate occasion. The reading included a selection of Christmas poems, for example 'Cathedral Carol Service', to launch us into the festive season. I was interested to hear the poet introduce one of her poems with the almost thow-away line, 'It's a Sonnet - I think it's much easier if you know.' We also heard a Pantoum, and talked about Villanelles and Triolets in the post-reading question session.

Wendy Cope explained how she had used words from Alain de Botton as an epigraph, words about the artist Edward Hopper and his landscape of transit and threshold spaces 'in which we are aware of a particular kind of alienated poetry.' I found this very resonant with the themes in Edgelands by Michael Symmons Roberts and Paul Farley, a book I have just finished reading.

Wendy Cope listed A.E. Housman and the Russian, Marina Tsvataeva (through the translations by Elaine Feinstein) among her favourite fellow poets. She drew inspiration from their work, but added that it was too soon for critics to say who had been the major influences on her own output. There was plenty of time at the end for questions about form in poetry, about commissions and various aspects of the writing process. 

Wendy Cope came armed with books, including Family Values (Faber 2011), and there was a steady stream of enthusiastic followers at the book table. Thank you to all concerned for a stimulating afternoon - and to Tom Owens for his photographs of the event, which you will find here. 

*

Postscript: Wendy Cope mentioned Valerie Eliot, wife of T.S. Eliot, who has just died ...   

International Echoes (18): Emma Lazarus, The Statue of Liberty and Ellis Island

Statue of Liberty, 'The New Colossus'

I often keep an eye open for Carol Rumen's 'Poem of the Week' as her choices are often fascinating and slightly off the beaten track.

The latest poem to fall under the spotlight, The New Colossus by Emma Lazarus, is no exception. It is a sonnet that has been with me since January when I visited New York for the first time.

The harbour area around the statue is steeped in history, for it was the first point of contact for those who arrived by sea as immigrants from Europe. The towering Statue of Liberty would have greeted them as they moved on to land at Ellis Island for 'processing'. Those who were well and fit for work moved on swiftly to the Central Railroad of New Jersey Terminal, where they caught their trains to the places that would soon become 'home'.

Ellis Island, in particular, was a fascinating, if at times heart-rending, outpost to visit. The huge institutional walls echo with the sound of multicultural stories. The exhibitions were first rate rate, and we greatly enjoyed an afternoon in the American Family Immigration History Center, tracing one of my Scottish-Australian ancestors who would have passed through New York before I was born, en route for Britain.

Going Green (1): Writing Workshop on Climate Change

I have been continuing to enjoy the annual Dylan Thomas Festival in the Dylan Thomas Centre in Swansea.

I spent Saturday afternoon at an enjoyable, informative and highly stimulating workshop on the topical theme of 'Climate Change'. The afternoon was organised by Emily Hinshelwood and led by eco-poet, Susan Richardson (and here). It proved a very popular event, and a good time was had by all. We balanced a spell of organic writing with a time set aside for a more structured approach, in which each participant began to create a poem in response to various prompts around the given theme.

Emily Hinshelwood and Susan Richardson

The workshop was delivered under the auspices of Awel Aman Tawe. This organisation is running a poetry competition to encourage people to write their own 'Climate Change' poems. Gillian Clarke, the National Poet of Wales, and Menna Elfyn, award winning poet have agreed to act as judges. The closing date is 30 November 2010. There are categories for adults and children, with prizes of £200, £50 and £25 (adults) and £20, £10 and £5 (children). Further information is available from the Awel Aman Tawe website, if you tap 'competition' into the search box. It's time to formulate those ideas.

Poetic People (29): I.M. Vera Rich

I have just heard that Vera Rich, poet, editor of Manifold poetry magazine, linguist, activist and much more besides, died last Christmas (20 December 2009). The link to her obituary in The Times is here.

I learned a great deal from my Manifold subscriptions and particularly enjoyed taking part in the challenges. There were two per issue, one was for a topical or anniversary theme (e.g. Porcelain or Telecommunications) and the other for a poem in a particular form - and often quite an unusual and taxing one at that e.g. the Ukrainian Kolomyika.

Vera would ring me up on occasions. She rang one day to say that she was catching the train to Swansea to come to the Dylan Thomas Centre. We met her at the station, escorted her to the venue, introduced her to some local poet friends and delivered her back at the railway station afterwards. She was intent on catching a late train in order to arrive at the appointed crack-of-dawn opening hour of her favourite local baker.  

As a young poet, I felt privileged to be a part of the Manifold community. I recall a message from Vera, asking if she could read one of my poems on National Poetry Day in a London church venue. I was invited to be on the jury for judging (?challenge) poems on one occasion. I only met Vera Rich once, but her name appeared frequently in our house within the pages of the Times Higher Education Supplement.

Poetry Matters (15): National Poetry Day 2010

Susan Richardson, Sarah from Cover to Cover Bookshop, Susie Wild

 We had a stormy evening yesterday, with waves lashing over the road at Mumbles in Swansea. However, we scuttled inside and were treated to some brilliant readings and recitations at the Cake Gallery, an atmospheric venue with fairy lights and paintings. The National Poetry Day event had been arranged by Sarah from Cover to Cover. Thank you to all those who were involved. 

Susan Richardson (and here) read - well, recited the poems by heart - from Creatures of the Intertidal Zone (Cinnamon Press) and from her forthcoming collection. Susie Wild kept us on our toes with a mixture of poems and fiction.

A good time was had by all ... and we enjoyed the olives and other nibbles, too. It was a great evening.

Green Moment (1): Organic Fortnight - and the Eden Project

Welcome! | Croeso!

This post is part of
Crafty Green Poet's Blogfest
to mark the Soil Association's
ORGANIC FORTNIGHT
3-17 September 2010

Thank you,
Juliet,
for arranging this enterprise.

"It is poetic that a china clay pit, so Cornish in essence, has been given another life.
It is a constant source of inspiration for me and continues to get better and better.”

Anthony Eyton R.A.
Artist in Residence,
The Eden Project

I wonder when you last had a 'green' moment.

I vividly recall my first visit to the Space Age biomes
of the Eden Project in Cornwall, back in 2002.
The structures alone were impressive.

However, I was particularly struck by the 'recycling work'
that had given the old China Clay pit a new lease of life
as a place in which people could come to enjoy themselves
and learn a great deal about the world around them.

The colours of the plants were vibrant.
The scents were intoxicating.
You could feel droplets of humidity on your skin.
The organic coffee in the café was delicious.
Birdsong resounded through the jungle!

I was so captivated by Eden that I came home and wrote a long (semi-fantasy semi-autobiographical) poem about my visit, under the tutelage of Susan Richardson, as part of a Disability Arts Cymru project. The poem, 'The Cheerful Chocoholic Woman Goes Exploring', was published in Hidden Dragons | Gwir y Grymus (Parthian Books 2004).

The poem revolves around my (imaginary) Biome conversation with a Praying Mantis (and here), who makes me appreciate the qualities of our fragile earth in a new light - as you will see from the following quotation:

He tells her all about the concept of fair trade,
about sustainable forests and water aid.
‘I have seen lots of wonders, but it’s time to depart,’
sighs the chocoholic woman, with a burdensome heart.
‘I envy those Aztecs with their cocoa bean brew,
mixed with spice from the chilli to warm them right through!’

The Chocoholic Woman finally arrives home, flinging 'chocoholic chippings' from her 'chocoholic heels', only to discover with a sense of panic that the 'snowy peaks of chocolate treats' beside her favourite chair are not, in fact, organic...

You may like to read about:

• The Eden Project Real Cool Futures Project, with a case study on Clio Turton who has worked as a manager at the Press Office of the Soil Association.
• The Eden Project Blog
• The Eden Project Shop (how about some Christmas present ideas?)
• Why Organic? - from the Soil Association
  

If chocolate is your thing, you may like:

• Divine
• The Divine Chocolate Blog
• The Divine Deep Dark Chocolate Competition (still time to enter)

If you enjoy poetry, you may like:

• The winning poems of the 2009 Divine Chocolate Writing Competition (judge, Anthony Horowitz)
• Organic Poetry (N.B. this site is about organic - or free-form - writing, rather than organic produce)
• An obituary (1994) in The Independent for Jack Clemo, who found inspiration in the china clay pits.

Enjoy Organic Fortnight ...

and don't forget to visit
Crafty Green Poet

and

here

the other participating blogs, linked to the site.

And finally ... if you like the thought of a Praying Mantis, you may enjoy Naquillity's post about a Walking Stick here.

Poems on the Web (8): Poetry Cow reads Charles Simic

Highland Cattle family on Insh Marshes near Kingussie

You might enjoy Poetry Cow reading The White Room, a poem by Charles Simic. If the first link to the Poetry Foundation is not working, you could try this one...

Magazine Moment (15): The Seventh Quarry

Swansea Bay from Mumbles,
with the Swansea-Cork ferry

I was delighted when the Summer 2010 edition [issue 12] of The Seventh Quarry arrived today, featuring an international spread of work from Wales, England, Holland, Romania, Italy, Catalonia, Israel, South Africa, Canada and America.

The magazine includes an interview with one of the leading Catalonian poets, Dr August Bover. Dr Kristine Doll poses interesting questions about the 'difficult to understand' label that attaches itself to the art of poetry.* I had the privilege of meeting August at a stimulating and memorable workshop in the Dylan Thomas Centre some months ago. Allan Peterson appears on p.5 as the issue's poet in profile.

The magazine opens with a poetry sequence including a moving piece, A Circle of Meadow, by Vince Clemente, The Seventh Quarry's Consulting Editor for America. A stylish concrete poem, Elephant, by Dave Lewis from Wales is embedded with 'memories' and 'stories' from the watering holes. Gerald England's witty contribution seems to me to combine the lazy dog pangram with a kind of abcedarium. I much enjoyed Gillian Drake's evocative poem, Lost - and am delighted that my poem, The Women of Linear B, has been included on p.11.

In Chapter 1 - Swansea Bay we are treated to an excerpt from a forthcoming Cross-Cultural Communications publication, Love For Ever Meridian; Finding Dylan Thomas in the 21st Century by John Dotson, who enjoyed 'taking in the shore-places of Dylan the boy' on a recent visit to South Wales.

The penultimate page of this issue carries a description of the latest Poet to Poet chapbook, Nightwatch by Aeronwy Thomas and Maria Mazziotti Gillan, in the series published jointly by Cross-Cultural Communications and The Seventh Quarry Press ... of which more perhaps in a future post.

Thank you, Peter, once again for another bumper edition!


* Postscript: On the subject of the meaning of poetry, there is a substantial article entitled by The Virtue of Verse by George Watson, fellow at St John's College, Cambridge in the current Times Higher Education Supplement (29 July-4 Aug 2010) - available online, with livelink highlighted above.

***

N.B. If you would like to take out a subscription
to The Seventh Quarry poetry magazine,
details can be found here.

Magazine Moment (14): Cultural Horizon Magazine (Romania)

A recent package from Romania!

I was delighted to receive the current copy of Contemporan Orizont Literar (Annul III - Nr.3 (17) / Mai-Junie 2010) through the post from Bucharest. Mihai Cantuniari is Director of this international - and often multi-lingual - publishing enterprise, with Daniel Dragomirescu as Editor-in-Chief. The magazine's new Foundation is a media partner of MTTLC, which comes under the guidance of Professor Lidia Vianu at the University of Bucharest.

This edition contains 60 packed and well presented pages of:

• articles
• poetry
• critical perspectives
• feedback
  
• photographs,
  

in addition this year's second extra A4 supplement, El Boletin del Autor, representing Orizonturi Literare Spaniole, and featuring Pedro Javier Martin Pedros. Pedros is interviewed by Victor Mrata Cortado on the intriguing subject, 'Poezia este şi va fi mereu necesară' | 'Poetry is and will always be necessary'. Pedros considers those closet writers who 'write like angels', but whose words rarely see the light of day. What is it that makes us write? Why, I wonder, are some writers so reluctant to admit that they have secret scripts hidden away - in a 'celebrity-culture' world in which others are desperate to flaunt their work?

The main body of the magazine begins with 'A Preface to the Passions of Daniel' (editor-in-chief) by the magazine's Director. Cantuniari pays tribute to Daniel Dragomirescu, whose dreams, visions and tenacity of spirit have made the magazine what it is today, by forging ahead and 'co-opting a series of precious translators', under Alina-Olimpia Miron. Daniel has persevered to ensure that CHM has gone from strength to strength, rising to new heights and inspiring readers (and writers) from more and more corners of the globe. I am not alone in acknowledging a debt to the editor's cultural foresight.

Thank you, Daniel, for the opportunities that have arisen - opportunities to make new friends, to gain fresh perspectives on the multi-faceted world of the Arts, and to learn more about Romania itself.

This edition is definitely 'international' in outlook. The following countries are represented by those who have contributed:

• Romania
• Spain
• Estonia
• Nepal
• USA
• Israel
• Finland

Britain, I am glad to say, is not forgotten - thanks to a section on the Feedback pages by Chris Kinsey. I interviewed Chris, BBC Wildlife Poet of the Year 2008, in an earlier edition in my occasional column, Dialoguri Galeze.

Do take a look at the magazine site here. New subscribers are always welcome - and the next edition including the latest in my interview series from Wales will be available soon!

• MAGAZINE PRICE: 12 EUROS | 15 DOLLARS PER COPY (SHIPPING INCLUDED). PayPal details to the right of the magazine page if you click here.
• The next issue is almost out, which will include contributions from Wales, including my interview with Susan Richardson and poetry by Byron Beynon. You can find the details here - and may perhaps like to order a copy for yourself!
  

Magazine Moment (12) (8): Cultural Horizon Magazine (Romania)

Daniel Dragomirescu, editor-in-chief of Contemporan Orizont Literar has posted about a new anthology, under the imprint of the magazine. It will contain a sample of my work. You can read about it here:

• Antologia Revistei Orizont Literar Contemporan (ed. Daniel Dragomirescu, Bucharest, Romania)
• List of contributors
  

Daniel's piece about the development of Contemporan Orizont Literar, a bilingual Romanian/English international and cultural magazine is now on the web here. I work as an occasional External Collaborator for the publication, conducting 'Dialoguri Galezi' - or interviews with poets here in Wales. Thank you, Daniel, for your kind words in the report!

Do consider taking out a subscription by PayPal (details here). You can read more about the magazine here and here - and you can always leave a comment on the Contemporary Horizon site, if you feel you would like to make a response.

Poetry Events (3): The Seventh Quarry at 5 Cwmdonkin Drive

No.5 Cwmdonkin Drive, Swansea - at dusk

Dr Tino Villanueva
signs his books
after the reading in 5 Cwmdonkin Drive, Swansea,
home of Dylan Thomas.
June 2010

Last Friday evening, I was invited an event hosted by Peter Thabit Jones, editor of The Seventh Quarry in the fascinating home of Dylan Thomas, no.5 Cwmdonkin Drive, Swansea.

Dr Tino Villanueva read a number of his poems in English and Spanish. Some poems were in both English and Spanish. Tino spoke of his fascination for words, and of his love for Dylan's poetry. Tino, who is on the staff of Boston University, is seen as 'a Chicano poet of bicultural word and history.'

I was invited to read my poem, 'Migration Mirage', which appears on p.49 of The Seventh Quarry, issue 11, Winter 2010.

Poetic People (37): Juliet Wilson

'Unthinkable Skies' (2010) by Juliet Wilson (aka 'Crafty Green Poet')
Calder Wood Press

28pp, £4.50 plus p&p - UK £1, Europe £1.50, Rest of the World £2
ISBN: 978-1-902629-28-5

Juliet Wilson*
author of

Unthinkable Skies

'poems reflecting Juliet's deep and wide-ranging concerns
for our planet and its inhabitants - human and animal.'

Juliet very kindly agreed to answer some questions about her new book, 'Unthinkable Skies'.

'All poetry should aim to be like birdsong' ~Juliet Wilson

1.) The title, 'Unthinkable Skies', is both evocative and arresting. At what point in the (writing/publication) process did you settle on this title, and why did you choose it?

Unthinkable Sky is a phrase from the poem Domesticated (p11) and I thought right from the beginning it would make a good title and loose theme (covering birds, the colour blue, galaxies, air pollution etc). I changed it to the plural at a later stage. Having a title and theme as soon as I started really helped to focus my mind!

2.) 'Unthinkable Skies' as a collection demonstrates your concern for our fragile world. At what age did you first become aware of 'green issues'? (I guess I have 'Drift' and 'Mistaken Identity' particularly in mind).

I was very interested in bird-watching and nature from very early on. I was probably seven when I did the jigsaw I mention in ‘Drift’. I first became aware of conservation as an issue through books and TV documentaries when I was about nine or so.

3.) As a left-hander, I instinctively turn to the back of a book. I was delighted to find a selection of your Haiku and Senryu on the last page. I also enjoyed your Ghazals, 'Malawian Moon' (p.3) and 'Endless Skies' (p.20). Why are form and poetic craft important (assuming that you feel they are); and what is it that appeals to you particularly about these forms?

I think all poets need to understand form and craft. This doesn’t mean that we should only write formal poetry and I write a lot of free verse myself. I think writing formally develops poetic discipline and a feel for the rhythms of language. I think also it’s a good discipline for poets to have a couple of favourite forms that they aim to ‘master’.

Haiku appeal to me because of their brevity, their traditional connection with nature and the seasons and the fact that there is so much more to them than meets the eye.

I discovered the ghazal relatively recently. There’s something magical about the repetition of the key word and the way the stanzas stand alone but interact to make something bigger.

4.) You edit the popular online poetry magazine 'Bolts of Silk'. How does your role as editor strengthen your role as poet - in your opinion, of course?

I really enjoy editing Bolts of Silk. Since the beginning I’ve had a steady stream of poetry to choose from, most of it excellent. This has offered me the chance to read quite widely from contemporary poets who I may otherwise never have heard of (I think it’s vital for poets to read a lot of poetry). Editing itself also has improved my critical eye which has probably helped me to improve my own writing.

5.) Like many others worldwide, I enjoy following your 'Crafty Green Poet' blog. Does blogging fuel your poetic output - and if so, in what ways? Do your recycled handicraft ideas go hand in hand with your writing?

Blogging helps to keep me going as a writer because I know I’ve got an audience! I’m always looking for things to blog about which helps me to find ideas for poetry. There are times though when I feel that blogging steals time from writing poetry.

Crafting gives me time to think and let my mind wander - I often have poetic ideas while I’m sewing or making collages. I hope to be able to make more collage versions of my poems in the future.

6.) Those of us who read your blog know that you regularly patrol a section of the Water of Leith in Edinburgh, Scotland, for conservation purposes. Wildlife plays a key part in your published poetry: do you make mental field observations while you are out and about, or do you use a dictaphone or notebook?

When I’m walking along the Water of Leith I always carry a notebook with me and record everything that way. At other times and in other places I’m often making mental notes rather than writing things down.

7.) Your poetry is concise and your words are chosen with care, sometimes with sound in mind e.g. 'scurry', 'shush' and 'skirr' in 'Turnstones' (p.29). You hint at more than you describe, and draw inspiration and imagery from emotion and the senses. Why is it more effective to 'show' than 'tell'?

I like poems that can be understood on a first reading but that reveal more on subsequent re-readings. I think showing rather than telling can draw a person into a poem and into the re-reading of it. Any poem should bring the reader’s imagination into play!

8.) Which poets - or authors - have been influential? In what ways (in a few words)?

a) Ruth Padel – who has wonderful stage presence
b) Margaret Attwood – whose poetry always gets to the heart of things
c) Edwin Morgan – the most imaginative poet in the English language

9.) We have mentioned 'Malawian Moon'. I know that my own year in Rome was life-changing. How did your two years in Malawi transform your view of the world?

Living and teaching in Malawi was an amazing experience. It gave me first hand experience of life in a very different culture and climate than the one I was used to, which helped me to see things in a bigger perspective. It was also a place that really inspired my writing.

10.) Those of us who follow your blog really appreciate your bird notes, with links to the RSPB site. Are there similarities between birds and poems?

Haiku are like songbirds in being small and perfectly formed and dependent on the seasons. All poetry should aim to be like birdsong, uplifting to the ear but with something worth saying too.

11.) Your publisher is Calder Wood Press. Please tell us a little about the press and about your part in the publication process.

Calder Wood Press is based close to Edinburgh, in East Lothian. I’ve known Colin Will (who runs the press) for several years. The press publishes a small number of poetry chapbooks every year, mostly by Scottish poets. Colin works closely with poets in producing their books. I sent Colin an initial selection of poems, we then worked together to select the final poems. I also provided the cover photo.

12.) What advice would you give to someone preparing a first collection?

Believe in your work. Place individual poems in reputable journals. Find a good small publisher, preferably a local one, to publish your first collection, which is more likely to be a pamphlet or a chapbook rather than a full length collection. Network a lot to create an audience for your work.

•••

Thank you, Juliet, very much indeed for your answers and information. 'Unthinkable Skies' has certainly made me want to continue to explore our world and our use of words. I very much hope that readers of this interview may care to visit the Calder Wood Press site (link) and order a copy of 'Unthinkable Skies' for themselves. This is a book that has made me think and feel.


* Photographs (under copyright) kindly supplied by Juliet Wilson

Ars Poetica (1): William Blake and Metaphor

'Little Lamb, who made thee?"
William Blake
Songs of Innocence*

I came across a fascinating article in the New York Times of 25 September 1910 (a century ago - almost!) in which Mr Arthur Symone is noted for having described Blake's imagination as 'visual' and of a kind more 'natural to a painter' (which, of course, he was - as well as a poet) than to an 'imaginative writer'.

According to Symone, the painter "sees an image or metaphor as a literal reality, while the other, seeing it not less vividly but in a more purely mental way, adds a 'like' or an 'as' and the image or metaphor comes to you with its apology or attenuation and takes you less by surprise."

We all know the power of metaphor today in our writing; but are there still instances, I wonder, when a simile does the trick in a way that cannot be matched?

How about:

• My love is like a red, red rose (Robert Burns)

• The Albatross fell off, and sank
  Like lead into the sea (Coleridge)

• The ranks pulled closer, tight as a mason packs a good stone wall (Homer in translation)

What poets have said:

• All metaphor is poetry (G.K. Chesterton)
  

• Simile and Metaphor [are] things inessential to poetry (A.E. Housman)
  

Do take a look at this article by Tim Love, and see what you make of the given examples of metaphor and simile. The one by prize-winning poet, Alice Oswald, stands out for me.


* N.B. The Little Lamb poem by Blake includes a line of metaphor about the vales rejoicing,
presumably paraphrasing biblical metaphors such as this one from Psalm 65:13:

'The pastures are clothed with flocks;
the valleys also are covered over with corn; they shout for joy, they also sing.'

Competition Corner (5): The National 2010

Hearty congratulations to Helen Dunmore on winning the National Poetry Competition with her poem, 'The Malarkey'. You can read about it here in The Guardian.

Poetic People (36): Juliet Wilson

Be sure to read Juliet Wilson's Crafty Green Poet blog this week about her new poetry collection, Unthinkable Skies, published by Calder Wood Press. I have read many of Juliet's Haiku and other poems over the last couple of years, and am much looking forward to buying a copy of the book.

Magazine Moment (8): Cultural Horizon Magazine (Romania)

'Horizons?
If not horizons,
then at least a few cracks
through which light pierces'

Maria Dolores Garcia Pastor
on writing her novel (details below)

I was delighted to receive a package from Bucharest, Romania this week. It contained the latest copy of 'Contemporan Orizont Literar'/'Cultural Horizon Magazine' [Annul III - Nr. 1 (15)/January- March 2010]. The publishing concern responsible for the venture is a media partner of MTTLC at the University of Bucharest. Magazine editor-in-chief, Daniel Dragomirescu, and his team of translators do a terrific job in producing a publication that is largely bilingual, always thought-provoking and refreshingly global in outlook.

The current issue contains features and poems from many corners of the world, for example...

Romania
The opening article, 'Eminescu and Postmodernism' by Daniel Dragomirescu considers the impact of the hugely influential Eminescu on those who followed him, and on the contemporary poetry scene in Romania. But what of the future? Dragomirescu raises some concerns. Eminescu's 'Evening Star' found its way in to the Guinness Book of Records as the longest love poem in the world. Readers will not be surprised to learn that the gymnast, Nadia Comaneci, also appears in the 2009 edition of this popular volume.

Nigeria
We move from Romania to Africa for Abiola Olatunde's feature on the theatre in Nigeria, which is, she writes, 'on the wane' at a time when interest in film and video is soaring.

UK
I enjoyed Anne Stewart's poem, 'Winter Loving', prefaced with an epigraph from Elizabeth Jennings. Stewart's image of the 'whale-song of the trees' is one that will stay with me.

USA
Peggy Landsman the in USA shares an update on her first full-length poetry collection and on a subsequent chapbook. Watch this space!

Spain
This edition of CHM comes with a supplement, featuring the Spanish publication, 'El Boletin Del Autor'. There is an interview with Maria Dolores Garcia Pastor, the author of El susurro del los árboles ('The Murmur of Trees'), a novel about Chile. The interview has been conducted by Victor Morata Cortado.

... and back to Romania
Finally, there is the text of an enlightening conversation in the Dialouri Culturale/Cultural Dialogue series, between Professor Lidia Vianu and Mrs Ioana Ieronim, former students in the Pitar Moş English Department. I supplemented my postgraduate certificate in education (PGCE) with a TEFL qualification (back in the 1980s), with a view to teaching English in international contexts - and was fascinated to read Professor Vianu's memories of her time as a student and later as a teacher of English. She speaks about her best-selling work, English as a Key (Teora 1993/2005/2006/2008). Professor Vianu recalls a period during her student days when she experienced 'a desperate hunt for books'. I would like to think that books will somehow continue to be widely treasured as tools of learning in university circles and beyond...

Why not visit the CHM site: you will find out a bit more about the current state of international culture - from a Romanian perspective!

• The Eminescu exhibition in the Romanian Parliament Palace
• On the subject of Welsh Dialogues/Dialoguri Galeze, you may like to know that Byron Beynon's latest book, 'Nocturne in Blue' (Lapwing Press) has just been published. I attended a launch at the Dylan Thomas Centre in Swansea, Wales, last Friday.
  

Magazine Moment (7): Wendy Webb's TIPS for Writers 76

Ladybirds near the entrance to
Epworth Old Rectory,
home of the Wesley family

My ladybird Haiku / 俳句 has been published in TIPS for Writers issue 76. It nestles in among a rainbow selection of poems, which include free verse and forms. There are other Haiku, such as those by Kay Weeks (in Maryland, USA) and Beth Buckley. There is a Tetractys by Tina Negus - not forgetting prize-winning Haiku poet, Claire Knight's delightful Echotain, Villanelle and Magi poems.

This edition celebrates James Knox Whittet's win in Wendy's Pamphlet Competition. His new collection, Carousel of Silences, will appear soon. Details available from Wendy. If you enjoy poetry news, views and tips, why not send her an email, asking to subscribe to eTIPS, which will then arrive in your inbox each month.

The mermaid bench end below is from the lovely church in Zennor in Cornwall. Wendy's book, A Mermaid's Tale, is now available. The mermaid cover painting is by Kay Weeks. You can read more about the publication here on Wendy's blog, or here on my Land&Lit page.

Poetic People (34): Ted Hughes

Former Poet Laureate, Ted Hughes is to have a memorial in Poets' Corner, Westminster Abbey.

His memorial will join memorials and tombs commemorating - among many others - Chaucer, Spenser, Shakespeare, Blake, Wordsworth, Gray, Shelley, Burns, Tennyson, Masefield and Betjeman.

Hughes is remembered for many aspects of his life and work - not least for his marriage to Sylvia Plath. His poem 'The Thought-Fox' (and here) is probably my favourite poem by this poet, and also my favourite ars poetica piece. I have always treasured a slim Faber volume called 'Poetry in the Making'. It is an anthology by this past Laureate 'of Poems and Programmes from Listening and Writing' for the BBC programmes for schools.

• Hughes on the Poetry Archive
• Frieda Hughes
  

Poetic People (33): Byron Beynon - book launch

The Dylan Thomas Centre in Swansea
(above)
launches Byron Beynon’s latest collection,

Nocturne in Blue

on Friday 19 March at 7pm.
All are welcome.

Swansea poet and lecturer Byron Beynon has had poems poems published in many publications including Agenda, Poetry Salzburg Review, Planet, The French Literary Review, Quadrant (Australia) and the Istanbul Literary Review.

Byron's collections include: The Girl in the Yellow Dress, The Restaurant of Mud and Cuffs (Rack Press).

Nocturne in Blue is published by Lapwing Publications (Belfast).

Byron is a former co-editor of Roundyhouse Magazine. You can find Byron reading his poems on the PoetCasting site.

You can read my interview with Byron for the Romanian magazine from Bucharest, Contemporan Orizont Literar/Contemporary Horizon Magazine, here.

Poetic Places (3): Hiawatha Country

'From the mountains, moors, and fen-lands
Where the heron, the Shuh-shuh-gah,
Feeds among the reeds and rushes...'

From: The Song of Hiawatha
by Henry Wadsworth Longfellow
1807-1882

If you are a fan of Longfellow's Hiawatha poem, do take a look at the amazing photograph of the Minnehaha Falls on Ecobirder's fabulous blog here.

The full text of the poem can be located here.