Creative Corner (7): Poetic Postcard Swap

Click to enlarge
(or visit Rachel's site here for a better view)

Blend in with the trees
Make use of their breadth
Think wild...

from Save the trees (or else) - by Rachel Fox

Fellow poet, Rachel Fox, and I have been swapping our poetic/photographic/poetic greetings cards.

Rachel sent me a set of her ten poetic postcards in exchange for a (rather eclectic) selection of my Coastcard items. It was Rachel's idea, and we both felt that it would be an interesting and experimental venture. Who knows where it may lead...

I promised to mention the swap on my blog. Rachel's cards can be purchased from her website: www.crowd-pleasers.net. Let me give a few more details:

• A set of ten costs £3.50 via PayPal (I assume for UK sales)
• The cards can (sometimes) be bought from the following outlets, though Rachel suggests that it may be best to buy direct from www.crowd-pleasers.net if you would like to have 'all the set'. Outlets as follows:
  
• Loch Croispol Cafe, Bookshop and Gallery, Durness, Sutherland
  Oathlaw Pottery and Gallery, by Forfar, Angus
  Scottish Poetry Library, 5 Crichton's Close, Edinburgh
  Tarts and Crafts, Balmedie, Aberdeenshire
  The Forest Bookstore, 26 Market Place, Selkirk
  The Windsor Gallery, 61 Perth Road, Dundee
  Unique Arts, South Square, Thornton, Bradford, West Yorkshire
  Wisecraft, 10 Lower Mill Street, Blairgowrie, Perthshire
  Word Power Books, 43 West Nicholson Street, Edinburgh
• Rachel's cards are (in non-metric measure) approx. 6"x4"
• I really like the fact that they are made on recycled card, and printed in Rachel's home locality.
  
• You will find Rachel's email on her site, if you have any queries.
  
• All cards (image, design and poetry) are the copyright of Rachel Fox.

The postcard set comprises ten poems. Most of them are in an American Typewriter-style font.

• The sisters said it best - on 'estuary sand-coloured background'
  
• Crowded out - on indigo/grey, with a lighthouse
• Save the trees (or else) - green background of birch trees
• Free at last - sand-coloured, with a balloon
• And so it goes - interesting and unusual shot of a car on mottled jade background
• Pluses and minuses - this witty and pithy poem is hand written for maximum impact
• Happy new hope - pink background, with handprint overlay
• Significant other deceased - pearl grey 'sky' background
• Diving - set against calm blue waters

and my personal favourite,

• Auchmithie road - muted brown background, with the words superimposed on a cliff edge scene. This poem has a liminal 'feel' to it. It was the one that particularly resonated with me, living as I do, high up in the clouds on the edge of Swansea Bay. Rachel's poem refers to Auchmithie near Arbroath on the Scottish coast.
  

Rachel's poems use rhyming quatrains and couplets. Most poems are not 'end-stopped', which gives them an open feel, and perhaps encourages the reader to add his or her own interpretation and ending.

Would I enjoy sending these poem cards to friends? Yes, indeed I would - and I have already done so. I feel they are good value - barely more (for a pack of ten) than one would pay for a single cup of quality filter coffee in town. They would make an unusual and welcome Christmas gift.

• Rachel's crowd-pleasers blog
• Rachel's crowd-pleaser PayPal page, where the cards can be purchased
  
• My Coastcard online shop (or you can click on the seal photo at the top right of my blog)

• Rachel reads her poems on YouTube
  

We look forward to your feedback!

Creative Corner (8): Postscript to Poetic Postcards Swap

Poetic Postcards by Rachel Fox

As a postscript to yesterday's post (link here) about the poetic card swap that fellow poet Rachel Fox and I have been doing...

... you might like to read about a paper swap enterprise at Lawendula's Woven Letters blog, and on the subject of creative initiatives, be sure to check out Seth Apter's blog, The Altered Page.

Wonderful Words (6): Photoetry

I always enjoy keeping up with the Poetry Book Society recommendations, and I was particularly interested to read the word 'photoetry' in the latest edition (PBS Bulletin, Summer 09).

Paul Muldoon's book, Plan B, is described as 'photoetry' on account of the fact that the poems are complemented (and perhaps enhanced?) by the images of Scottish photographer, Norman McBeath. The PBS reviewer points out that, in this instance, the cover image alone serves as an illustration in the conventional sense of the word. The photographs sit alongside (or run parallel to) the poems and create an environment in which 'poems and images are in conversation'.

I enjoy ekphrastic poetry of all kinds, despite the fact that poems about artworks abound in profusion. By the sound of it, Plan B does not quite fall into the usual category. To date, I have only read about it. There are times - many times - of course, when a poem speaks entirely for itself, and any images it conjures up remain in the eye of the writer and of the reader. That can be very special. There are other times when external images play a key role, times when an electrifying symbiotic relationship develops on the page between text and image.

I have particularly enjoyed two recent collections of photoetry (as I can now refer to them!):

• Recollections (Flambard Press) by Maureen Almond. This volume of poetry developed out of Maureen's time as poet-in-residence at the Museum of Antiquities (now part of the Great North Museum), Newcastle upon Tyne. Her poems were partnered by the photographs of the museum's Audio-Visual Officer, Glyn Goodrick. The collection as a whole celebrates the work and collections of the museum and explores (in my opinion very successfully) the interaction between the Romans and the modern museum visitor.

• Batu-Angas (Seren, ISBN: 9781854114648) by Anne Cluysenaar is subtitled 'Envisioning Nature with Alfred Russel Wallace'. The poetry constitutes an exploration of the life of Wallace, whose independent discovery of natural selection in 1858 led to Darwin's publication of The Origin of Species. The enhancing illustrations and photographs represent some of the specimens collected by Wallace during his journeys. Cluysenaar runs the Henry Vaughan Society and edits their magazine Scintilla. She lives in Vaughan's hometown of Usk in Wales.

What photoetry editions have you encountered - and enjoyed? Do let me know.

I cannot, I cannot, I think, quite count this next volume as photoetry, but it definitely deserves a mention in this post:

• The Terracotta Army by Gary Geddes (Peterloo 2007). This book is beautifully produced. Each poem appears opposite a page containing a calligraphic Chinese character by Shuai Lizhi. I imagine (at least I am guessing) that each character represents the title of the facing poem. Each poem (in English) bears the title of one of the warriors: you will encounter the spy, the harness-maker, the military historian and the chaplain - to name but four.
  

Since we are speaking of definitions, how does photoetry differ from an anthology with illustrations in the traditional sense (think children's books, perhaps)? I believe that there is a distinction based around those words 'in conversation', but it is not easy to define with precision.