tag:blogger.com,1999:blog-32606398400885172292024-03-12T20:33:56.224-07:00Anna Livia ReviewReviews of short stories, novels, poetry, journals, theatre, art and music. We prefer writing with real literary merit. We only review the work we like, and have time to read thoroughly. For more information, read some of our reviews and check our accompanying fb page Anna Livia Plurabelle.Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.comBlogger54125tag:blogger.com,1999:blog-3260639840088517229.post-79531646417743707062013-06-30T03:05:00.001-07:002013-06-30T03:05:08.648-07:00Highly Recommended: Sunday 30th, June, 2013.<h3>
<b><span class="Apple-style-span" style="color: purple;">A Celebration of WB Yeats: the second <i>Tread Softly... </i>festival, Sligo.</span></b></h3>
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<span class="Apple-style-span" style="color: #1a1a18; font-family: Helvetica;"><span class="Apple-style-span" style="font-size: x-small;">Tread Softly… is a festival bringing the story of Sligo’s greatest artistic family to life with two weeks of Music, Theatre, Exhibitions and the Spoken Word. </span></span><br />
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<span class="Apple-style-span" style="font-size: x-small;">Sligo is the spiritual home of the Yeats family. The Nobel Prize-winning poet, William Butler Yeats and his brother, the artist Jack B., and their sisters, the embroiderer, Susan and fine press printer, Elizabeth have a life history inextricably linked to Sligo.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">W. B. Yeats is considered by many to be the greatest English language poet of the 20th Century. Throughout his life he wrote about Sligo and the beauty, folklore and spirituality of the surrounding landscape. His brother Jack once said he never created a painting “without at least a thought of Sligo in it”.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Tread Softly... is an initiative of Blue Raincoat Theatre, Hawk’s Well Theatre, The Model, Sligo Live and Yeats International Summer School supported by Fáilte Ireland and is produced by Sligo Yeats Partnership: Michael Carty, Meg Harper, Niall Henry, Paul Keyes, Emer McGarry, Marie O’Byrne and Rory O’Connor.</span></div>
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Follow the link to the programme for more details.<br />
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<a href="http://www.seasonofyeats.com/TreadsoftlyProgramme.pdf" target="_blank">http://www.seasonofyeats.com/TreadsoftlyProgramme.pdf</a><br />
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<span style="font-size: large;"><span class="Apple-style-span" style="border-collapse: collapse; color: red; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 16px;">100 THOUSAND ARTISTS MARCH FOR GEZI PARK</span></span></h2>
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<span style="font-size: large;"><span class="Apple-style-span" style="border-collapse: collapse; color: red; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 16px;"><br /></span><span style="color: red;"><span class="Apple-style-span" style="border-collapse: collapse; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 16px;">START DATE: 22 JUNE 2013 (Every Saturday)</span></span></span></h2>
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<span style="font-size: large;"><span style="color: red;"><span class="Apple-style-span" style="border-collapse: collapse; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 16px;">PLACE: Worldwide</span></span></span></h2>
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WORLD ARTISTS MARCH FOR ‘GEZIPARK’ AS A SYMBOL OF CREATIVE RESISTANCE<br />
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'for resistance to shine & <br />
peace to grow &<br />
colors to spread'<br />
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The Gezi Park protests, started as an act of peaceful resistance to save the hundred year old trees at Gezi Park – the final green public space at the heart of Istanbul – have turned into a widespread Youth movement and have inspired millions of citizens in Turkey to stand up for their rights and freedoms which are being suppressed by the system and the people in power. Since May 31st, millions of activists, artists, academicians, students, civil society actors and citizens are marching in the streets of Turkey to save GeziPark, to challenge the status quo, which is ignoring the rights of humanity and the enviroment, and to voice their democratic demands.<br />
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The protests, which use the arts as a means for Creative Resistance, combined many artistic disciplines from Sufi dance to ballet, music, literature and humour to spread the message and raise consciousness. The deliberate censorship from national media during these protests once again showed that ART is the best and most powerful medium to connect with the PEOPLE.If you decide to organize an event,please contact for event details to share on worldwide:<br />
ORGANIZER: Vedat Zar vedatzar@gmail.com<br />
ORGANIZER: Derya Yuksek dyuksek@gmail.com<br />
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This event is in conjunction with "100 Thousand Poets For Change"<br />
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Turkey Official Page: <a href="http://www.100binsanatci.org/">http://www.100binsanatci.org/</a><br />
Global Official Page: <a href="http://www.100tpcmedia.org/100TPC2012/2013/06/100-thousand-artists-march-for-gezi-park-2013/"><span style="font-size: x-small;">http://www.100tpcmedia.org/100TPC2012/2013/06/100-thousand-artists-march-for-gezi-park-2013/</span></a></div>
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Facebook: <a href="https://www.facebook.com/events/396689183773490/" target="_blank"><span class="Apple-style-span" style="color: blue;">https://www.facebook.com/events/396689183773490/</span></a><br />
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<span class="Apple-style-span" style="background-color: white; color: red;"><b>Tender:</b> a new quarterly journal made by women</span></h2>
Issue 1 of <i><b>tender</b></i> journal (edited by Rachael Allen & Sophie Collins), is launched in The Galley Café on Saturday the 29th of June at 7.30pm.<br />
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<b><i>Tender</i></b> was established in April 2013 as a platform for work by female-identified writers and artists. The journal is published four times a year as a carefully curated pdf. An annual anthology of favourite pieces from throughout the year will follow in print.<br />
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<a href="http://www.tenderjournal.co.uk/">http://www.tenderjournal.co.uk/</a></div>
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<span style="color: red;">TWENTY-FIRST CENTURY RUSSIAN POETRY</span></h2>
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<span style="color: #0b5394;">Edited by Larissa Shmailo</span></div>
Contemporary Russian poetry was given a strong platform this week with the publication of this new anthology. Editor, Larissa Shmailo writes that<br />
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"This anthology celebrates the Russian translator along with the Russian poet. All the work herein is translated from the Russian originals, with a few exceptions for "English-as-a-Second-Language" poems from noted bilinguals Philip Nikolayev (who provided many of the translations in this volume), Katia Kapovich, Irina Mashinski, and Andrey Gritsman (who also provided translations); there is also one English-language poem from Alexandr Skidan. Except where noted, all of this work is seen in English for the first time.<br />
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In the interests of accuracy and inclusion of as many poets as possible, I have decided not to provide the Russian text of the poems. This omission will be rectified in a future and expanded print version of this anthology."<br />
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The anthology is published online and is free to access. The standard of work throughout is exceptionally high, proving, if it were needed, that recent reports of the death of contemporary poetry are premature. But you can judge this for yourself by following the link:</h3>
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<a href="http://bigbridge.org/BB17/poetry/twentyfirstcenturyrussianpoetry/twenty-first-century-russian-poetry-contents.html#"><span style="font-size: x-small;">http://bigbridge.org/BB17/poetry/twentyfirstcenturyrussianpoetry/twenty-first-century-russian-poetry-contents.html#</span></a></div>
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<span class="Apple-style-span" style="color: red;">THE ORIGINS OF RUSSIAN POETRY</span></h3>
<span style="font-family: Times, Times New Roman, serif;"><b>If the anthology above has sparked an interest in Russian poetry, then the Russian Poetry in Translation page is one to keep in touch with. I found this introduction to the Origins of Russian Poetry, written by Philip Nikolayev, to be a great starting point.</b></span><br />
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<span style="font-family: Times, Times New Roman, serif;">Prashant Keshavmurthy asks whether Russian poetry is founded on a particular creation myth. You see, Prashant, Russian poetry is different from the Indian, Persian and Arabic poetic traditions in that it is new. Though it arguably has its "myths," it does not go back to a myth. Apart from liturgical verse, the first Russian lyric poems on record, anonymous, are from the early 17th century. They are fine texts of the courtly boyar culture, and they have survived in a mansucript exported from Moscow c. 1620 by Richard James, an Englishman. I have studied these poems in detail. In Russian scholarship, due to the influence of Marxist ideology, they have been traditionally discussed as "folk poetry," but there is no doubt in my mind that they are works by a poet of the courtly class, a boyar. They present a view from within the Kremlin. Among them, incidentally, is the first Russian metrical poem (just one at this time!). </span><br />
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<span style="font-family: Times, Times New Roman, serif;">But the first outstanding Russian poems, from the 18th century, are by Mikhail Lomonosov (1711-1765). Notice that I am a skeptic about the so-called Lay of Igor's campaign, a poetic narrative that allegedly dates from the 12th century; I looked into it closely at one point and am of the school that considers it to be an 18th-century forgery.</span><br />
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<span style="font-family: Times, Times New Roman, serif;">Russian literature is unquestionably ("typologically," as the word goes) a Western literature, and that includes our poetry, although the steppes of our south, the swamps and woods of our east and the permafrosty tundras of our north all contribute their tones and colors. </span><br />
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Mikhail Lomonosov's greatness lies in large measure in the fact that he, being possessed of a fine ear, took Western ideas of meter and applied them in an inventive and organic way to the Russian language, making meter work for Russian and thus forever defining standard Russian verse as accentual-syllabic (syllabotonic). The original models for verse used by certain lesser and earlier Russian poets came from Poland were syllabic in nature (syllable count without fixed accentual patterns); they that original syllabic verse sounds quaint and remote today (although I should also note Alexei Tsvetkov's interesting and robust experiments toward reviving the possibilities of Polsih-like syllabic verse in Russian). Lomonosov's influence is felt in poetry to this day. His greatest poem (I'll translate it sometime) is "And Ode Selected from Job," a verse translation of a part of the book of Job from the Old Testament, where, on having heard Job's plaint, God speaks to him out of the cloud. The recent book title -- "Behold the Behemoth" -- by Oleg Dozmorov, a major current poet, alludes to a line in that great ode of Lomonosov's, confirming our bond with and our debt to him. <br />
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Various poets followed Lomonsov, and the greatest among those was Gavriil (or Gavrila, i.e. Gabriel) Derzhavin. <br />
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And then in the early 19th century we had our greatest poet, Alexander Pushkin, his brilliant life and early tragic death, and that is the central, defining event and "mythos" of our poetry. In a way, he is to our poetry what Mozart is to Western classical music. <br />
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Such are the origins of Russian poetry.<br />
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<span class="Apple-style-span" style="color: #38761d;">Upcoming:</span></h3>
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<span class="Apple-style-span" style="color: #38761d;"> Fermoy International Poetry Festival </span></h3>
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<span class="Apple-style-span" style="color: #38761d;">August 01 - 05, 2013.</span></h3>
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Fermoy, Co Cork is getting ready for this gathering of poets from far and wide who come to share their poetry on open mic sessions, workshops and the ever popular 'Poetry Bus<b>'</b>. Come and enjoy readings from international and Irish published poets. Also attend book launches from a number of new and up and coming poets from Ireland and abroad. The winners of the National and the International Poetry Competitions will read their work at the festival. The competition judge is poet <b>Noel King.</b></div>
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com4tag:blogger.com,1999:blog-3260639840088517229.post-66493074732951905142013-06-23T07:21:00.000-07:002013-06-23T07:38:37.916-07:00Why is Modern Poetry Criticism so Bad?Why is Modern Poetry Criticism so Bad?<br />
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Two articles this week on the state of modern poetry - the first from the Washington Post where journalist Ron Charles comments on Professor Mark Edmundson's essay<i> 'Poetry Slam', or 'The Decline of American Verse' </i>which has just been published in Harper's Magazine. The second article, from the <i>Huffington Post</i> by Seth Abraham responds by listing over twelve points under the heading 'Why is Contemporary American Poetry so Good?'<br />
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Links to the articles are provided but, the following is also a synopsis of the main points of the arguments offered, along with some comments which must be raised against this very predictable and lazy attack, as reported the <i>Washington Post</i>.<br />
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Ron Charles, quotes Edmundson as saying that modern poets are 'oblique, equivocal, painfully self-questioning … and withdrawn' .Edmundson names names - Muldoon - admitting that he still has 'barely a clue as to what Muldoon is going on about' (at best this is a limp point to bring against any poet and at worst an own goal for Edmundson). Undeterred by his lack of understanding, Edmundson cites John Ashbery as 'say[ing] little' in his 'perpetual hedging', and thereby ignoring the interrogation of epistemology, of our ability to comprehend the tentativeness of what we think we know, which Ashberry and others interact with.<br />
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Edmundson warns that 'one can't generalize about it all' before proceeding to generalize about most of it. He regards 'Sharon Olds, Mary Oliver, Charles Simic, Robert Pinsky' and others as being 'good in their ways' but 'simply [not] good enough'. They don't 'slake a reader's thirst for meanings that pass beyond the experience of the individual poet and light up the world we hold in common.' In short, he succeeds in proving that like Muldoon, he barely 'has a clue as to what [they are] going on about', or has not actually read the poets that he is condemning with faint praise.<br />
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Edmundson's central complaint is however that contemporary poets are 'too timid to speak for the people, to say 'we', to strike a major note on any fundamental truth of human experience. He complains that in the face of war, environmental destruction and economic collapse, 'they write as though the great public crisis were over and the most pressing business we had were self cultivation and the fending off of boredom.' He reveals himself as a critic who is therefore looking for a premodernist homogenous view of culture, almost a person in need of absolute horizons, or absolute truths. It hasn't dawned on him that many poets question the existence of absolute truths and, like Joyce, are determined to be true to their own unique experience and to express it as such, in the hope that it will register in the hearts of others. With regard to the issues such as environmentalism, politics, economics, there are so many established and newly emerging poets who contradict this opinion that I think we can finally conclude that Edmundson is simply out of touch. The arguments which he gives must be dismissed as lazy rather than the considered opinions of someone who has made an effort to engage with poets and their work.<br />
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As if to distance himself from the stultifying influence of academia and to imply that he himself is a trailblazer for modern readers he then blames the MFA programs for teaching poets to play safe and offend no-one, linking their nefarious influence to 'liberal post-modernists' who do not allow a 'white male poet to speak for anyone but himself'. And there finally is the worm at the heart of the rot in Edmundson's argument. In these words he reveals what has motivated such an attack on a group of people who have obviously not previously impinged upon his consciousness in any meaningful way. The idea that they are liberal and philosophically aware, critically aware despite what he sees as the 'toxic effect' of modern literary theorists, that their work stems from a subtle awareness of their status as individuals in a varied political system, rather than a ruling class who need to lead the people, offends Edmundson. <br />
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If the article in the <i>Washington Post</i> reflects the arguments of Edmundson correctly then he has done himself more of a disservice by attacking poetry in this generalized and lazy manner. He would need to demonstrate a greater awareness of his abilities to understand the poets he criticises and then to include specific criticisms of their work rather than the sweeping statements which seem designed to make a name for himself rather than contribute to literary debate.<br />
Ron Charles piece can be found here: <a href="http://www.washingtonpost.com/blogs/style-blog/wp/2013/06/20/why-is-modern-poetry-so-bad/" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://www.washingtonpost.com/blogs/style-blog/wp/2013/06/20/why-is-modern-poetry-so-bad/</span></a><br />
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The second article, by Seth Abrahamson, was written in reply to the above. Seth Abraham's reply in the <i>Huffington Post </i>'Why is Contemporary American Poetry so Good?' can be found here.<br />
<a href="http://www.huffingtonpost.com/seth-abramson/why-is-contemporary-ameri_b_3474969.html" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://www.huffingtonpost.com/seth-abramson/why-is-contemporary-ameri_b_3474969.html</span></a> In it he lists twelve reasons why he feels Edmundson got it wrong. A brief over view of his arguments shows that he feels:<br />
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1) That there are more people in the US who are committed to writing poetry and that within the next few years every American will know one of these committed writers.<br />
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2) Creative Writing courses are the fastest growing field of studies in the US and that the traditionally bohemian and non-institutionalised practitioners of poetry are being embraced by the university system.<br />
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3) Because of the greater numbers of committed writers, poetry is now more openly discussed. Slam poetry attracts large crowds and is not generally acknowledge by print media. Visual media, mostly found in galleries, also extends the reach of modern poetry out to the community.<br />
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4) Not only are there more people in creative writing courses but there are greater numbers of people now taking Contemporary American Poetry courses.<br />
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5) Poetry, like every art form, is continually evolving and there is so much of modern poetry that it is impossible to assess this evolution at the present time. It requires a retrospective view to assess the work of the era more comprehensively.<br />
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6) Here he finally mentions some of the poets who he feels disprove the thesis. Matt Hart, Abraham Smith, Heather Chester, Anthony Madrid and …<br />
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7) US poets are younger now, on average, and see poetry as a lifetime choice. The changes in publishing and online presences make this more feasible.<br />
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8) Most reviewers focus on the poetry superstars - the ones who have won awards - and yet a cursory view of the history of poetry shows that the lasting poets rarely come from this class. They are generally unacknowledged for much of their lives.<br />
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9) US poetry is now more inclusive of race and gender.<br />
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10) The current President writes, reads and hosts discussions of poetry.<br />
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11) Linguistic, philosophical and psychological insights are now available to poets, deepening the levels of meaning which they can allude to and be understood by.<br />
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12) Poetry is good for everyone.<br />
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<span style="font-family: Times;">I have greatly simplified
Abrahamson's arguments here, but in fairness some of them needed to be
simplified. As much as I admire his defence of modern poetry, there is a 'high
fog content' which in academic articles is generally employed to beat
opposition into submission but here is a sign that the article may have been
written in a hurry. Nonetheless, he has responded by pointing out
that many of Edmundson's criticisms are in fact, a sign of the ability of
modern poetry to thrive. Where Edmundson sees the MFA programmes as
having a negative influence, Abrahamson sees it as a sign of vital activity, of
real demand from students who take up the courses, and as a way to
make the choice of a literary career a viable one for writers. He says that
many people can now make a living, get published, be read by their peers around
the world. The internet has opened opportunities and made the writing of
poetry less insular. <o:p></o:p></span></div>
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<span style="font-family: Times;">Around paragraph six he finally
gets to mention some of the poets who he feels disprove Edmundson's opinions,
and this is where Abrahamson triumphs. In bringing forward the strengths of modern poets Abrahamson begins to dismantle Edmundson's thesis, but does not carry it forward enough. </span>However, he opens the way for readers of modern poetry to name and claim modern poetry as the innovatative and creative force that they experience in their lives.<br />
<br />
In reading and reviewing, modern poetry for the Anna Livia Review I have seen <span style="font-family: Times;">exactly how
comprehensively and subtly <b>Melissa Green's</b> '<i>Squanicook Eclogues</i>' addresses our
need to live in harmony with our environment. <b>Ben Mazer's</b> poetry addresses the
role of the poet in a deeply existential way which also expresses the primal
astonishment at the fact of the existence of the world, <b>George Szirtes'</b>s poetry reveals the story of the past through personal touches and makes momentous, tiny moments of time within relationships which expose their globally networked effect. </span> <b>Joe Green</b>'s poetry
insists upon a Zen like need for laughter, <b>Djelloul Marbrook</b>'s first collection
'<i>Far from Algiers</i>' deals with the political borders and refugee camps which
reside inside the heart of someone who is not automatically acceptable, not a
white male, and by doing so offers a compassionate way for the white male, the
female, the integrated and non-integrated, to make sense of their journey in
the world. <b>Michael Longley's</b> <i>Collected Poems</i> exhibits the profound impact which political division and blindness to our place in the environment results in and provides a route for war-torn cultures around the globe, based on a pragmatic compassion and personal experience. <b>Moyra Donaldson</b> '<i>Selected Poems</i>' show exactly why dominant world views must be challenged rather than prolonged, in her revelations of the uncontested harm done to socially excluded individuals in the past. <b>Peadar O'Donoghue</b>'s punk instincts challenge the political and economic complacency which we have descended into in '<i>Jewel</i>', as does the just published '<i>Ripple Effect</i>' by <b>Terry McDonagh</b>. <b>Philip Nikolayev'</b>s poetry too, informed as it is by an awareness of differing cultures, by a career and life dedicated to poetry, expresses the insignificance of the human condition and yet its ability to express the world, is new, innovative and exciting ways. <br />
<br />
There are many I have not touched upon to show the shallowness of Edmundson's attack. The author of the <i>Washington Post'</i>s article, Ron Charles, ends his piece by calling for essays on the socially and politically courageous poets who write today. We would like to extend Anna Livia Review as a forum for such essays and invite you to name and claim the poets who dedicate their lives to this work.<br />
<br />
Ann Fallon.<br />
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<br />Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com1tag:blogger.com,1999:blog-3260639840088517229.post-482179150274059382013-06-09T06:00:00.006-07:002013-06-09T06:02:04.397-07:00Highly Recommended 9th June, 2013.<h2>
<span class="Apple-style-span" style="color: red;">Sunday</span></h2>
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<b><span class="Apple-style-span" style="font-size: large;">BLOOMSDAY</span></b><span class="Apple-style-span" style="font-size: 15px;">: Next Sunday marks the 109th celebration of Bloomsday - </span></div>
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One of the earliest Bloomsday celebrations was a <i>Ulysses</i> lunch, organised by Sylvia Beach in France in June 1929. Joyce and thirty other guests were invited to a luncheon at the Leopold Restaurant near Versailles for the 25th anniversary, and also to celebrate the French translation of Ulysses. </div>
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The term 'Bloomsday' was coined in 1954 when Irish writers Flann O'Brien, Patrick Kavanagh, Anthony Cronin, and John Ryan arranged for a horse drawn procession to follow the route of Paddy Dignam's funeral. They planned to travel round the city through the day, visiting scenes of the novel and ending in Nighttown but the pilgrimage was abandoned half way at the Baily pub in the city centre, which Ryan owned. </div>
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<span class="Apple-style-span" style="font-family: CharisSILRegular, Georgia, serif; line-height: 21px;">The first Joyce Symposium took place in dublin in 1967 and has since taken place in many of the cities in which Joyce lived.</span></div>
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The JAMES JOYCE TOWER AND MUSEUM, the opening setting of the book, is once again hosting readings and events all this week: <a href="http://jamesjoycetower.com/" target="_blank">http://jamesjoycetower.com/</a></div>
</span><span class="Apple-style-span" style="font-family: CharisSILRegular, Georgia, serif; font-size: 15px; line-height: 24px;"><b>Here is a selection of the many events which will be hosted world wide this year:</b></span><span class="Apple-style-span" style="font-family: CharisSILRegular, Georgia, serif; line-height: 21px;"><div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-family: CharisSILRegular, Georgia, serif; font-size: 15px; font: inherit; line-height: 24px; margin-bottom: 18px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">
<b>DUBLIN:</b></div>
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<tr><td class="tr-caption" style="text-align: center;">Joseph O'Connor, one of the readers for the inaugral<br />
GLOBAL BLOOMSDAY GATHERING</td></tr>
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</span><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;">Novelist <b>Joseph O' Connor</b> confirmed to read in the Dublin leg of Globalbloomsday.com - </span><br />
<span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;">25 worldwide cities across 4 continents read <i>Ulysses</i> live on globalbloomsday.com</span><br />
<span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 18px;"><a href="http://globalbloomsday.com/" target="_blank"><br />http://globalbloomsday.com/</a></span></span><span class="Apple-style-span" style="color: #666666; font-family: CharisSILRegular, Georgia, serif; font-size: 15px; line-height: 21px;"></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: black; font-size: large;"><b>Participating cities for the Global Bloomsday Gathering</b></span></td></tr>
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<span class="Apple-style-span" style="font-size: large; font-weight: bold;">Also in Dublin:<span class="Apple-style-span" style="color: #666666;"> </span></span></div>
The Rocky Horror Show meets Ulysses - Special interactive screening of the famous 1950s film featuring Milo O'Shea. Active participants are welcome! <b>Irish Film Institute</b> - Bookings www.ifi.ie and 01 6793477 Thursday 13th June.<br />
<b>Bewley's Cafe Theatre </b>- <b>Noel O'Grady</b> - 13th June - a special one-off performance of his show The Voice of Joyce: An Exile Sings, and <b>Declan Gorman's</b> One-man version of Dubliners will run for two weeks until the 22nd June.<br />
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Dublin will be innundated with events this week and the best site to keep track of it all is the Dublin <b>James Joyce Centre:</b> <a href="https://www.facebook.com/JamesJoyceCentre?fref=ts" target="_blank">https://www.facebook.com/JamesJoyceCentre?fref=ts</a><br />
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<b><span class="Apple-style-span" style="font-size: large;">New York:</span><span class="Apple-style-span" style="font-size: 15px;"> The James Joyce Society page is the one to keep in touch with:</span></b></div>
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<b><a href="http://joycesociety.org/sched_current.html" target="_blank">http://joycesociety.org/sched_current.html</a></b></div>
<span class="Apple-style-span" style="color: #666666; font-family: CharisSILRegular, Georgia, serif; line-height: 24px;"><b><span class="Apple-style-span" style="font-size: large;">Philadelphia:</span></b><span class="Apple-style-span" style="font-size: 15px;"> The Rosenbach Museum continue their wonderful tradition of Bloomsday readings: </span><a href="http://www.rosenbach.org/learn/events/bloomsday" style="font-size: 15px;" target="_blank">http://www.rosenbach.org/learn/events/bloomsday</a><br />
<b><span class="Apple-style-span" style="font-size: large;">Paris:</span></b><span class="Apple-style-span" style="font-size: 15px;"> The Parish Bloomsday Group host readings and songs from James Joyce's work with poet Jean O'Sullivan as MC. Centre Culturel Irlandais, Paris.</span><br />
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<span class="Apple-style-span" style="color: #666666; font-family: CharisSILRegular, Georgia, serif; line-height: 24px;"><a href="http://jamesjoyce.ie/ai1ec_event/bloomsday-in-paris/?instance_id=" target="_blank">http://jamesjoyce.ie/ai1ec_event/bloomsday-in-paris/?instance_id=</a></span></div>
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<b><span class="Apple-style-span" style="font-size: large;">London:</span> </b><span class="Apple-style-span" style="font-size: 15px;">the London Irish Centre are hosting a Bloomsday Cabaret </span><br />
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<a href="http://www.londonirishcentre.org/events/bloomsday-cabaret" target="_blank">http://www.londonirishcentre.org/events/bloomsday-cabaret</a></div>
<span class="Apple-style-span" style="font-size: large;"><b>New Orleans:</b> </span><span class="Apple-style-span" style="font-size: 15px;">Writers and artists will gather at The Irish House, Charles Ave. where there will be readings, pints and food to celebrate. All are welcome!</span><br />
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<span class="Apple-style-span" style="color: #666666; font-family: CharisSILRegular, Georgia, serif; font-size: 15px; line-height: 24px;"> <a href="http://www.nola.com/festivals/index.ssf/2013/06/new_orleans_book_lovers_toast.html" target="_blank">http://www.nola.com/festivals/index.ssf/2013/06/new_orleans_book_lovers_toast.html</a></span></div>
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</span><span class="Apple-style-span" style="color: #666666; font-family: CharisSILRegular, Georgia, serif; line-height: 24px;"><span class="Apple-style-span" style="color: #666666; font-family: CharisSILRegular, Georgia, serif; line-height: 24px;"><span class="Apple-style-span" style="font-size: large;">The<b> James Joyce</b>,<b> writer</b> page is one of the pages that will keep you up-to-date with happenings. (Let them know if you want to include your event).</span></span><span class="Apple-style-span" style="color: #666666; font-family: CharisSILRegular, Georgia, serif; font-size: 15px; line-height: 24px;"> </span></span><span class="Apple-style-span" style="font-family: CharisSILRegular, Georgia, serif; line-height: 24px;"><div style="color: #666666; font-size: 15px;">
<span class="Apple-style-span" style="color: #666666; font-family: CharisSILRegular, Georgia, serif; font-size: 15px; line-height: 24px;"><a href="https://www.facebook.com/pages/James-Joyce-writer/332196660243207?fref=ts" target="_blank">https://www.facebook.com/pages/James-Joyce-writer/332196660243207?fref=ts</a></span></div>
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<span class="Apple-style-span" style="font-size: 15px;"><b>Some great literary insults were hurled at us through fb and Flavorwire this week. Here's the link, along with some of our favourites.</b></span></span><br />
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<b><span class="Apple-style-span" style="font-family: CharisSILRegular, Georgia, serif; font-size: 15px; line-height: 21px;"></span><span class="Apple-style-span" style="font-family: CharisSILRegular, Georgia, serif; font-size: 15px; line-height: 24px;">“Barry, you’re over thirty years old. You owe it to your mum and dad not to sing in a group called Sonic Death Monkey.” – <em style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 15px; font-style: italic; font: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">High Fidelity</em>, Nick Hornby</span></b><br />
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<b><span class="Apple-style-span" style="font-family: CharisSILRegular, Georgia, serif; font-size: 15px; line-height: 21px;"></span><span class="Apple-style-span" style="font-family: CharisSILRegular, Georgia, serif; font-size: 15px; line-height: 24px;">“I desire that we be better strangers.” - <em style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-size: 15px; font-style: italic; font: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">As You Like It</em>, William Shakespeare</span></b><span class="Apple-style-span" style="color: #666666; font-family: CharisSILRegular, Georgia, serif; font-size: 15px; line-height: 21px;"></span><br />
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<a href="http://flavorwire.com/328022/a-literary-insult-for-every-occasion" target="_blank">http://flavorwire.com/328022/a-literary-insult-for-every-occasion</a></div>
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<span class="Apple-style-span" style="color: #333333; font-family: arial, sans-serif; line-height: 17px;">CONGRATULATIONS TO KEVIN BARRY </span><br />
<span class="Apple-style-span" style="color: #333333; font-family: arial, sans-serif; line-height: 17px;">on winning the IMPAC Literary Award 2013</span><br />
<span class="Apple-style-span" style="color: #333333; font-family: arial, sans-serif; line-height: 17px;"> for his novel City of Bohane.</span><br />
<span class="Apple-style-span" style="color: #333333; font-family: arial, sans-serif; line-height: 17px;">Here's a short snippet of Kevin reading from his novel at the Kilkenny Arts Festival Followed by Belinda McKeon and Paul Murray. <a href="http://www.youtube.com/watch?v=Q-nPNOSpmg0" target="_blank">http://www.youtube.com/watch?v=Q-nPNOSpmg0</a></span><br />
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<span class="Apple-style-span" style="color: #333333; font-family: arial, sans-serif; line-height: 17px;">And here is Kevin being interviewed after winning the The Sunday Times EFG Private Bank Short Story Award 2012 for his short story 'Beer Trip to Llandudno'. Hours after winning, author and Booktrust web editor Nikesh Shukla met Kevin in an Oxford beer garden to discuss his win, how he writes short stories and what the best ale he's ever had is. Even at this stage Kevin had been writing the film script for City of Bohane - so this new award should provide the impetus for finishing that project.</span><br />
<a href="http://www.youtube.com/watch?v=GxPfnMVysb0" target="_blank">http://www.youtube.com/watch?v=GxPfnMVysb0</a><br />
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<b><span class="Apple-style-span" style="color: red;">LITERARY EVENTS THIS WEEK:</span></b></h2>
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<a href="http://1.bp.blogspot.com/-UWrnD_pqyr0/UbR4zP3qEeI/AAAAAAAAA2E/e3WlmREynLg/s1600/Screen+shot+2013-06-09+at+13.44.17.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-UWrnD_pqyr0/UbR4zP3qEeI/AAAAAAAAA2E/e3WlmREynLg/s200/Screen+shot+2013-06-09+at+13.44.17.png" width="148" /></a><br />
<span class="Apple-style-span" style="font-size: large;"><b>BOSTON: Friday 14th, 6pm</b></span><br />
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<span class="Apple-style-span" style="font-size: large;">Grolier Bookshop are hosting a reading of 'City of Angels' by Ben Mazer, to mark the publication of his <i><b>NEW POEMS</b></i>. The event is free, but space is limited so book early: </span><br />
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<span class="Apple-style-span" style="color: red;"><a href="http://grolierpoetrrybookshop.eventbrite.com/" target="_blank">http://grolierpoetrrybookshop.eventbrite.com/</a></span></div>
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<b><span class="Apple-style-span" style="font-size: large;">BIRMINGHAM: Monday 10th, Open Mic Poetry Slam:</span></b><br />
This month's special guest poets are Birmingham Slam Stars<br />
PGR brings you not one but three outstanding slam poets. James, Jaden and Elisha took the Warwick Words Slam by storm. Their blend of wit poingnancy and lyricism left the audience cheering. Believe the hype! <a href="https://www.facebook.com/events/196431360511890/" target="_blank">https://www.facebook.com/events/196431360511890/</a></div>
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<span class="Apple-style-span" style="font-size: large;"><b>BELFAST: Monday 10th, </b></span><br />
Poetic Perspective: Through Artist' Eyes at the Belfast Book Festival, featuring the literary work of Geraldine O'Kane and live contemporary dance, painting and performance. Including artists such as<br />
<span class="text_exposed_show" style="display: inline;">Colin Dardis, Amos Gideon Greig, Jenny Cleland, Peter Francis Fahy, David Armitage, Mimi O'Holloran, Anna Donovan, David Yates, Patricia Locker, Laura Kidd, Paul Kopal, Graeme McAllister and Stephen Millar. <a href="https://www.facebook.com/events/163186730523652/" target="_blank">https://www.facebook.com/events/163186730523652/</a><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px;"><br /></span></span></span><br />
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Also in Belfast, on Wednesday 12th:<br />
Poetry from Sam Riviere and Stephen Connolly.<br />
<a href="https://www.facebook.com/events/191854887632500/" target="_blank">https://www.facebook.com/events/191854887632500/</a><br />
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<b><span class="Apple-style-span" style="font-size: large;">DUBLIN: The Ash Sessions: Tuesday, 11th July.</span></b></div>
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The ladies from Bare Hands and the Ash Sessions combine to bring you a mini Electric Picnic in the heart of Dublin. Featuring Ireland’s leading performance poets Abby Oliviera, Andre K’por and John Cummins, hilariously dark and mischievous tales from Paul Timoney along with a dazzling array of alternative/indie/folk music from Sinead White, Ria Czerniak, Red Sail, Johnny Murphy, Pearse McGloughlin and Justin Grounds. Come. It will only be amazing.<br />
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Tickets €10/€8<br />
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<span class="Apple-style-span" style="color: red;"><a href="http://www.10daysindublin.com/programme/baring-our-ashes/" target="_blank">http://www.10daysindublin.com/programme/baring-our-ashes/</a></span><br />
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<b>TORONTO:</b> Friday 14th June.<br />
<span class="Apple-style-span" style="font-weight: normal;"><span class="Apple-style-span" style="font-size: small;">1001 Friday Nights of Storytelling. An Open Mike of storytelling, music and poetry. </span></span><a href="https://www.facebook.com/events/535074769864722/" style="font-weight: normal;" target="_blank"><span class="Apple-style-span" style="font-size: small;">https://www.facebook.com/events/535074769864722/</span></a></h2>
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-4463015265935913972013-06-02T03:27:00.002-07:002013-06-02T03:41:20.289-07:00Highly Recommended 2nd June, 2013.<a href="http://4.bp.blogspot.com/-7AaxlJkuDsg/Uap-Qn-74JI/AAAAAAAAAyA/t50kVmwm_zw/s1600/Screen+shot+2013-06-02+at+00.04.50.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-7AaxlJkuDsg/Uap-Qn-74JI/AAAAAAAAAyA/t50kVmwm_zw/s400/Screen+shot+2013-06-02+at+00.04.50.png" width="320" /></a><br />
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<span class="Apple-style-span" style="color: red;"><b>SUNDAY:</b></span></h2>
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<b>William Carlos Williams Centre for the Arts</b><br />
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Wednesday, June 5th.<br />
Great to see that<br />
Philip Nikolayev and Katia Kapovich are reading from their English and Russian work here this week.<br />
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KATIA KAPOVICH reads here and in the following link:<br />
<a href="http://www.youtube.com/watch?v=3lpf4S6sI9A" target="_blank">http://www.youtube.com/watch?v=3lpf4S6sI9A</a><br />
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<a href="http://www.youtube.com/watch?v=uzQ9xCYT5No" target="_blank">http://www.youtube.com/watch?v=uzQ9xCYT5No</a><br />
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PHILIP NIKOLAYEV reads here at the Carol Novack Tribute Reading in NYC last December.<br />
<a href="http://www.youtube.com/watch?v=lR3ZyWAtT4U" target="_blank">http://www.youtube.com/watch?v=lR3ZyWAtT4U</a><br />
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Booking office: (201) 939 4902 <br />
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<b><span class="Apple-style-span" style="font-size: large;">Susan Millar DuMars, Richard W. Halperin, Noel King and </span></b><b><span class="Apple-style-span" style="font-size: large;">John W. Sexton.</span></b></div>
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THURSDAY, 6th June. Irish Writers Centre</div>
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In Dublin, Salmon Press and the Irish Writer's Centre host the Dublin launch of four new collections by</div>
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<a href="http://www.salmonpoetry.com/event-details.php?ID=231" target="_blank">http://www.salmonpoetry.com/event-details.php?ID=231</a></div>
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<b><span class="Apple-style-span" style="color: red;">MONDAY:</span></b></h2>
<a href="http://2.bp.blogspot.com/-OELbdNDBkCE/UaqAYCjfzpI/AAAAAAAAAyM/zIunUlRk2b0/s1600/Screen+shot+2013-06-02+at+00.13.46.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="221" src="http://2.bp.blogspot.com/-OELbdNDBkCE/UaqAYCjfzpI/AAAAAAAAAyM/zIunUlRk2b0/s320/Screen+shot+2013-06-02+at+00.13.46.png" width="320" /></a>The Carol Novack Tribute Reading mentioned above was organised by <b>Larissa Shmailo</b> and Marc Vincenz. Larissa will be well known to you from her work in translation, from her own poetry and the amazing poetry and music events which she and Mad Swirl organises. Here she is interviewed in POETRY THIN AIR, a great resource, interviewing important new poets.<br />
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Other poets in this series include Michael Graves, Eve Packer, Susan Scutti, Bruce Weber, Jee Leong Kohn / Miriam Stanley and Thomas Fucaloro….<br />
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<a href="http://www.youtube.com/watch?v=7j8XEDPXCS0" target="_blank">http://www.youtube.com/watch?v=7j8XEDPXCS0</a><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-D6WO6_e3z7s/UaqIFPhf8AI/AAAAAAAAAyk/KTWMxu2i75U/s1600/Screen+shot+2013-06-02+at+00.47.03.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="256" src="http://1.bp.blogspot.com/-D6WO6_e3z7s/UaqIFPhf8AI/AAAAAAAAAyk/KTWMxu2i75U/s320/Screen+shot+2013-06-02+at+00.47.03.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Orhan Pamuk, Turkey's Nobel Prize Winning author.</td></tr>
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<span class="Apple-style-span" style="font-size: large;">Disturbing reports from Turkey this week in particular. A nation with such culture and history is being torn apart by threats to its democracy. To help us keep in mind what is at stake we look at some of the contributions which Turkey has made to world literature.</span><br />
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Jason Goodwin studied Byzantine history at Cambridge and has listed his top ten picks, encompassing poetry, history, and fiction, about this 'elusive and contradictory' country.<br />
<a href="http://www.guardian.co.uk/books/2011/aug/31/jason-goodwin-top-10-books-turkey">http://www.guardian.co.uk/books/2011/aug/31/jason-goodwin-top-10-books-turkey</a><br />
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Here, Mark Lawson looks at an early work from Nobel prize winner Orhan Pamuk and was struck at how the author has consistently worked 'close to contentious politics and history'.<br />
<a href="http://www.guardian.co.uk/books/2012/oct/12/silent-house-orhan-pamuk-review">http://www.guardian.co.uk/books/2012/oct/12/silent-house-orhan-pamuk-review</a><br />
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<span class="Apple-style-span" style="font-size: 24px; font-weight: bold;"><b><span class="Apple-style-span" style="color: red;">WEDNESDAY:</span></b></span><br />
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<a href="http://3.bp.blogspot.com/-FJkXdqY40y8/UaqOMJDV_EI/AAAAAAAAAzI/R4X7RsCw47Q/s1600/Screen+shot+2013-06-02+at+01.13.09.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="239" src="http://3.bp.blogspot.com/-FJkXdqY40y8/UaqOMJDV_EI/AAAAAAAAAzI/R4X7RsCw47Q/s320/Screen+shot+2013-06-02+at+01.13.09.png" width="320" /></a></div>
Robert Archambeau's indepth review of <b><i>Prairie Style</i></b> by C S Giscombe appears in the latest issue of <b>The Volta</b>, and provides insights into the poet's work and the challenges facing modern poets today.<br />
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"In Giscombe’s hands, the emancipation of narrative dissonance becomes a means of emancipating himself—and, if we are attentive, us—from the kinds of narratives about race that perpetuate old inequities. And in using dissonance as a means of addressing race, he’s bringing to his poetry an attitude long-established in African-American music: As Duke Ellington once told a journalist for whom he played some of his recordings, “That’s the Negro’s life... Hear that chord! Dissonance is our way of life in America”<a href="http://www.thevolta.org/inreview-mainpage.html" target="_blank">http://www.thevolta.org/inreview-mainpage.html</a><br />
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<span class="Apple-style-span" style="color: red;">Thursday:</span></h2>
Two important literary festivals to watch out for in Cork this summer:<br />
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Kinsale<br />
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A full programme of events is available here: <a href="http://vimeo.com/67294356" target="_blank">http://vimeo.com/67294356</a><br />
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Fermoy<br />
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Some of the featured poets in this year's festival include:<br />
Tsead Bruinja, Noel King, Matthew Sweeney, Jan Glass, Michele Vassal and Gene Barry.<br />
<a href="http://www.fermoypoetryfestival.com/Fermoy-Poetry-Festival-Guest-Poets-biographies-.html" target="_blank">http://www.fermoypoetryfestival.com/Fermoy-Poetry-Festival-Guest-Poets-biographies-.html</a><br />
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These two publications are now getting ready to publish their latest editions.<br />
<b><i>The Battersea Review</i></b>, Issue 3. The Summer issue this year will include: <br />
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<a href="http://2.bp.blogspot.com/-IY3O-xfIMsM/UasZ-PulEhI/AAAAAAAAAzs/i-FznesUCHU/s1600/Screen+shot+2013-06-02+at+11.06.36.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-IY3O-xfIMsM/UasZ-PulEhI/AAAAAAAAAzs/i-FznesUCHU/s320/Screen+shot+2013-06-02+at+11.06.36.png" width="220" /></a>POETRY: Stephen Sturgeon, Philip Nikolayev, Pushkin and Mandelshtam tr. by Philip Nikolayev, Alfred Corn, Peter Robinson, Alexei Tsvetkov, Katia Kapovich, Geoffrey O'Brien, Greg Delanty, M.A. Schorr, John Hennessy, Mark Lamoureux, Whit Griffin, Elizabeth-Ashley Best, Adrienne Raphel, Kit Schluter, Sophocles tr. by U.S. Dhuga, Ben Mazer.<br />
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CRITICISM: An essay by Mandelshtam tr. by Philip Nikolayev, Stephen Sturgeon on Wallace Stevens, Robert Archambeau on T.S. Eliot and Class, Raymond Barfield on T.S. Eliot & F.H. Bradley, John Howard on Jonathan Edwards, Allison Vanouse on Aviation and Rockets, D.M. Stewart on Aesthetics, Cassandra Nelson on Screens, Thomas Graves on Edgar Allen Poe, Mario Murgia on Federico Garcia Lorca, Sean Campbell on Randall Jarrell and Robert Lowell, Ann Fallon on The King, Ben Mazer on Harvard & Yale Poetry Culture between the World Wars.<br />
Website is here: <a href="http://thebatterseareview.com/" target="_blank">http://thebatterseareview.com/</a><br />
or keep in touch via their fb page here: <a href="https://www.facebook.com/BatterseaReview?fref=ts" target="_blank">https://www.facebook.com/BatterseaReview?fref=ts</a><br />
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<a href="http://3.bp.blogspot.com/-gZrUspsubxM/UasaiF8-waI/AAAAAAAAAz0/OrKxdYBI2Zk/s1600/Screen+shot+2013-06-02+at+11.07.08.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-gZrUspsubxM/UasaiF8-waI/AAAAAAAAAz0/OrKxdYBI2Zk/s320/Screen+shot+2013-06-02+at+11.07.08.png" width="300" /></a><b><i></i></b><br />
<b><i><b><i><br /></i></b></i></b>
<b><i>Poetry Bus 5</i> </b>has secured funding for it's fifth print issue. An international literary magazine which publishes short stories, poetry, artwork and criticism as well as a cd of music and spoken poetry. <i>Poetry Bus</i> is becoming one of those magazines which you'll want to say you were involved with. <br />
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"<i>The Poetry Bus</i> has probably published more first time poets alongside well known ones than any other magazine. Now in its fifth incarnation with undoubtedly the best issue yet,(just wait til you see it!) it is perfect bound with full colour illustrations (including a graphic short story!) from amazing artists and crammed with poets new and not so new!<br />
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We have a truly eclectic selection of poetry from Irish and international poets regardless of age, sex, nationality, friendship or standing. The Poetry Bus continues to offer opportunities for all equally and never forgets that it was created to provide a top class showcase as well as a level playing field. This ethos remains vitally important to us."<i>The Poetry Bus</i> runs an open fb group which you can join and keep in touch with their shenanigans:<br />
<a href="https://www.facebook.com/groups/125558570802681/?fref=ts" target="_blank">https://www.facebook.com/groups/125558570802681/?fref=ts</a><br />
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<span class="Apple-style-span" style="font-size: large;"><i>The Guardian</i> have been running a readers book blog section online since 2008. In case you haven't seen this you can take a look at some of the latest reviews here, and perhaps think of reviewing. </span><a href="http://www.guardian.co.uk/books/booksblog/2013/may/31/reader-reviews-roundup" target="_blank">http://www.guardian.co.uk/books/booksblog/2013/may/31/reader-reviews-roundup</a><br />
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For example, this blog below, posted by Billy Mills last week, takes a look at the international poetry world, from publishing to poetry slams.<br />
<a href="http://www.guardian.co.uk/books/booksblog/2013/may/30/poetry-new-territory-sales-salt-publishing">http://www.guardian.co.uk/books/booksblog/2013/may/30/poetry-new-territory-sales-salt-publishing</a><br />
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While this link gets you to the latest round up of reader's reviews.<br />
<a href="http://www.guardian.co.uk/books/booksblog/2013/may/31/reader-reviews-roundup">http://www.guardian.co.uk/books/booksblog/2013/may/31/reader-reviews-roundup</a><br />
<br />Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-36991647662379309662013-06-01T04:02:00.001-07:002013-06-02T12:44:51.261-07:00June Publishing Deadlines: 2013.<!--[if gte mso 9]><xml>
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<span class="Apple-style-span" style="color: red;"><b>3rd June deadline:</b></span></div>
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An international short fantasy fiction competition, of between 350 and 500 words of previously unpublished work. One entry per person. Use the entry form below:</div>
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<o:p><a href="http://sjihollidayblog.wordpress.com/sjibfs-flash-fiction-competition/" target="_blank">http://sjihollidayblog.wordpress.com/sjibfs-flash-fiction-competition/</a></o:p></div>
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<span class="Apple-style-span" style="color: red;"><b>Extended deadline - June 5th:</b></span></div>
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Short stories, Essays, Prose pieces for the Queer Grits Anthology.</div>
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<span class="Apple-style-span" style="color: red;"><b>June 15th - extended deadline:</b></span></div>
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<b><span class="Apple-style-span" style="font-size: large;">Houston and Nomadic Voices</span></b></div>
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<span class="Apple-style-span" style="font-size: large;">Fiction, Flash Fiction, Poetry, </span></div>
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<span class="Apple-style-span" style="font-size: large;">Creative Nonfiction and, </span></div>
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<span class="Apple-style-span" style="font-size: large;">Cross-Genre hybrid work.</span></div>
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Based in Houston, but they accept work from international sources. Jeni McFarland is Fiction and Non-Fiction Editor while Colin James Sturdevant is Managing Editor. This is relatively new, but there's a real buzz about it so give it a go.</div>
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<a href="http://houstonandnomadicvoicesmagazine.com/2013/05/30/call-for-submissions-houston-nomadic-voices-magazine-issue-2-speaking-my-mind/" target="_blank">http://houstonandnomadicvoicesmagazine.com/2013/05/30/call-for-submissions-houston-nomadic-voices-magazine-issue-2-speaking-my-mind/</a></div>
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<b><i>BLUE FIFTH REVIEW</i></b> - June 30th is the final deadline for their next issue.<br />
Unsolicited work is accepted, but no previously published work.Take a look at their latest issue - it's a great read and will give you a better idea of their needs.<br />
<b>Poetry</b>: open to traditional or experimental forms of any length<br /><b>Flash Fiction</b>: open to works of prose – up to 1,000 words – emphasizing varying degrees of narrative, form, language, voice, and pacing<br /><b>Art</b>: The editors generally solicit art for the issues but will consider unsolicited submissions. Attach the work as a .jpg, .jpeg, or .gif file.<a href="http://bluefifthreview.wordpress.com/submission-guidelines/" target="_blank">http://bluefifthreview.wordpress.com/submission-guidelines/</a></div>
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<o:p><b><span class="Apple-style-span" style="color: red;">30th June:</span></b></o:p></div>
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<a href="http://3.bp.blogspot.com/-dAlhyt92-iM/Uam_5MZUUkI/AAAAAAAAAvI/Gx18_gr5DwM/s1600/Screen+shot+2013-06-01+at+10.30.39.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-dAlhyt92-iM/Uam_5MZUUkI/AAAAAAAAAvI/Gx18_gr5DwM/s1600/Screen+shot+2013-06-01+at+10.30.39.png" /></a></div>
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<o:p><b>THE LITPOP AWARDS</b></o:p></div>
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<o:p>Open to residents of Canada and the United States only. Poetry / Short Fiction competition:</o:p></div>
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The POP Montreal International Music Festival and Matrix Magazine have joined forces to rock your literary world with Canada's most innovative and exciting literary competition. They're looking for writing that really pops. So if you can bring the noise with <b>poetry and/or short fiction</b>, it’s time to smash some bottles and trash some hotels (but not really though). If you have what it takes, you will get your work published in Matrix, and get free travel to POP Montreal for a night in your honour. <br />
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<o:p><a href="http://www.matrixmagazine.org/litpop/" target="_blank">http://www.matrixmagazine.org/litpop/</a></o:p></div>
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<a href="http://4.bp.blogspot.com/-IP-tFIzx0JA/UanA23xOAcI/AAAAAAAAAvU/5jqB4VuDQEM/s1600/Screen+shot+2013-06-01+at+10.37.02.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="37" src="http://4.bp.blogspot.com/-IP-tFIzx0JA/UanA23xOAcI/AAAAAAAAAvU/5jqB4VuDQEM/s320/Screen+shot+2013-06-01+at+10.37.02.png" width="320" /></a></div>
Short literary fiction. Under 500 words.<br />
currently looking for submissions, read their new edition, just published.<br />
<b>"Apocrypha and Abstractions </b>is an online only Literary Journal specializing in very short (flash) fiction, of 500 words or fewer. The stories represented here strive to say something without actually saying it. We leave the interpretation entirely up to the reader."<br />
<a href="http://apocryphaandabstractions.wordpress.com/" target="_blank">http://apocryphaandabstractions.wordpress.com/</a><br />
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<b>The Piker Press a</b>ccepts fiction, non fiction, essays and art on a broad variety of topics and genres. </div>
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A weekly journal for arts, sciences, fiction and non-fiction, 'we like to think of it as an illegitimate, online child of Analog and National Geographic, but funnier.' No payment, but take a look at their journal and submission details.</div>
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<span style="color: red;"><a href="http://www.pikerpress.com/submissions/submissions.php" target="_blank">http://www.pikerpress.com/submissions/submissions.php</a></span></div>
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<b>The Santa Fe Writers Project </b></div>
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<a href="http://4.bp.blogspot.com/-wBLLfEPmu-g/UanNHH84yUI/AAAAAAAAAwc/Wsm37NmIxLc/s1600/Screen+shot+2013-06-01+at+11.29.10.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-wBLLfEPmu-g/UanNHH84yUI/AAAAAAAAAwc/Wsm37NmIxLc/s1600/Screen+shot+2013-06-01+at+11.29.10.png" /></a></div>
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Their mission statement is to discover one new writer per year. If you've never been published, or if you're self published, or published by a small press who have used less than $15,000. to promote your work, you are eligible for this international project. They are looking for writers of novellas, or short stories and want to publish one author per year, starting spring of 2014. Andrew Gifford is the publisher. <b>They tells us that this project is separate and unrelated to the contest which they run and which has an entry fee of $30. </b></div>
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<a href="https://www.facebook.com/pages/Santa-Fe-Writers-Project/283052815651" target="_blank">https://www.facebook.com/pages/Santa-Fe-Writers-Project/283052815651</a></div>
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<o:p><b>FICTION ATTIC PRESS</b></o:p></div>
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SHORT STORIES of 5,000 words or less. Submissions open on 1st June, deadline 30th August.</div>
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Fiction Attic Press are now accepting submissions for their Short Story Contest. The winner will be published in their anthology and receive a payment of £150. (<b>There's an entry fee of $7</b>.)</div>
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<a href="http://fictionattic.com/first-novel-contest/">http://fictionattic.com/first-novel-contest/</a></div>
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<b><i>The Brooklyn Rail</i></b> welcomes you to their web-exclusive section <span class="Apple-style-span" style="font-size: large;"><b><i>InTranslation</i></b>, </span>where they feature unpublished translations of fiction, nonfiction, poetry, and dramatic writing. Launched in April 2007, InTranslation is a venue for outstanding work in translation and a resource for translators, authors, editors, and publishers seeking to collaborate. They regularly seek exceptional, unpublished English translations from all languages:<br />
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<a href="http://3.bp.blogspot.com/-KFzyEa7KjUc/UanOlwUWtcI/AAAAAAAAAws/l-cCP3f_QTA/s1600/Screen+shot+2013-06-01+at+11.35.04.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="99" src="http://3.bp.blogspot.com/-KFzyEa7KjUc/UanOlwUWtcI/AAAAAAAAAws/l-cCP3f_QTA/s320/Screen+shot+2013-06-01+at+11.35.04.png" width="320" /></a><b><i>Sundog Lit</i></b> seeks to publish active, vibrant, earth-scorching literature. They read year-round. One submission at a time and they do not consider previously published work. </div>
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<a href="http://sundoglit.com/submissions/">http://sundoglit.com/submissions/</a><o:p></o:p></div>
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<a href="http://2.bp.blogspot.com/-LXE4sDNexsw/UanRAXS7VGI/AAAAAAAAAxQ/lF23Lni0dAA/s1600/Screen+shot+2013-06-01+at+11.44.31.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-LXE4sDNexsw/UanRAXS7VGI/AAAAAAAAAxQ/lF23Lni0dAA/s200/Screen+shot+2013-06-01+at+11.44.31.png" width="151" /></a><b><span class="Apple-style-span" style="font-size: large;"><br /></span></b></div>
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<b><span class="Apple-style-span" style="font-size: large;">Subterranean Blue </span></b></div>
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<span class="Apple-style-span" style="font-size: large;">have just published their third issue this month. They are looking for poetry and art for the next issue. Take a look at their publication and submit here</span>:</div>
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<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.subterraneanbluepoetry.com/SubterraneanBluePoetry.Submissions.htm">http://www.subterraneanbluepoetry.com/SubterraneanBluePoetry.Submissions.htm</a></span><o:p></o:p></div>
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<b><span class="Apple-style-span" style="font-size: large;">iARTistas </span></b><br />
the new iPAD/digital/print publication from the publisher of PoetsArtists. She is also now the FRESH look for MiPOesias Magazine. MiPOeisas (www.mipoesias.com) will stay online via the web site and the internet archives but all new work received will be published under the iARTistas title.<br />
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IARTistas seeks to publish authors and Visual artists who think outside of the box.
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<b><i>Thumbnail Poetry Magazine</i></b> launches its annual, guest-edited issues in January 2014. We are seeking original, unpublished poetry submissions in any style not to exceed 40 lines (though we might let an extra line or two sneak by). Series editor Beth Couture will be reviewing submissions for a guest editor that is still to be determined. The wait time on this will be exceptionally long. We're cool with simultaneous submissions, and we only ask that you let us know right away if your work has been published elsewhere.<br />
<a href="https://thumbnailmag.submittable.com/submit/18780" target="_blank">https://thumbnailmag.submittable.com/submit/18780</a><br />
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<b><i>DISTRICT LIT</i></b> - publishes Art, Fiction and, Poetry on an ongoing basis:<o:p></o:p></div>
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<a href="http://districtlit.com/guidelines">http://districtlit.com/guidelines</a><o:p></o:p></div>
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<o:p><span class="Apple-style-span" style="font-family: Georgia; font-size: 15px; line-height: 22px;"><span style="font-size: small;"><span style="line-height: 24px;"><b>Rufous City Review</b> accepts on going submissions in original <b>art, poetry, and poetic prose</b> which surprises, unsettles, and excites. We want to experience writing that twists our expectations and reminds us what it means to be obsessed with language.</span></span></span><span class="Apple-style-span" style="font-family: Georgia; font-size: 15px; line-height: 22px;"><br /></span></o:p></div>
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<a href="http://www.rufouscityreview.com/-the-fancy-submission-manager.html">http://www.rufouscityreview.com/-the-fancy-submission-manager.html</a><o:p></o:p></div>
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PITHEAD CHAPEL:</div>
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Electronically publishes literary fiction and nonfiction - monthly. </div>
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At present they are accepting submissions of under 4,000 words only.</div>
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Flash Fiction (under 1,000 words)</div>
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Short Fiction (under 4,000 words)</div>
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Non fiction - but no critical essays.</div>
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<a href="https://pitheadchapel.submittable.com/submit" target="_blank">https://pitheadchapel.submittable.com/submit</a></div>
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<a href="http://ginoskoliteraryjournal.com/guidelines.htm">http://ginoskoliteraryjournal.com/guidelines.htm</a></div>
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<a href="http://3.bp.blogspot.com/-7IOcxVHkg8c/UanPcPomVzI/AAAAAAAAAw4/AxjVsRVgsmE/s1600/Screen+shot+2013-06-01+at+11.39.11.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://3.bp.blogspot.com/-7IOcxVHkg8c/UanPcPomVzI/AAAAAAAAAw4/AxjVsRVgsmE/s200/Screen+shot+2013-06-01+at+11.39.11.png" width="161" /></a>GINOSKO LITERARY JOURNAL:</div>
Acceps short fiction & poetry, creative nonfiction, interviews, social justice concerns, spiritual insights. <br />
Editorial lead time 1-2 months; accept simultaneous submissions & reprints; length flexible, accept excerpts.<br />
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Receives postal submissions & email—prefer email submissions as attachments in Microsoft Works Word Processor, Rich Text Format or Word. Copyright reverts to author. Read year-round. <br />
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<!--EndFragment-->Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-18663541260177772572013-05-26T04:43:00.001-07:002013-05-28T00:55:04.583-07:00<div class="separator" style="clear: both; text-align: left;">
<a href="http://4.bp.blogspot.com/-5WdM2GjP3hQ/UaHsThbm9NI/AAAAAAAAAuQ/PH9tjfq1c5Y/s1600/Screen+shot+2013-05-26+at+11.00.45.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a><a href="http://4.bp.blogspot.com/-5WdM2GjP3hQ/UaHsThbm9NI/AAAAAAAAAuQ/PH9tjfq1c5Y/s1600/Screen+shot+2013-05-26+at+11.00.45.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-5WdM2GjP3hQ/UaHsThbm9NI/AAAAAAAAAuQ/PH9tjfq1c5Y/s320/Screen+shot+2013-05-26+at+11.00.45.png" width="260" /></a></div>
<h2>
<span class="Apple-style-span" style="color: red;">SUNDAY:</span></h2>
Spanish artist Dino Valls, who trained as a doctor while developing his unique painting style, is interviewed in The Original Van Gogh's Ear Anthology.<br />
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<a href="http://theoriginalvangoghsearanthology.com/2013/05/23/an-interview-with-dino-valls/" target="_blank">http://theoriginalvangoghsearanthology.com/2013/05/23/an-interview-with-dino-valls/</a><br />
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Further examples of his work, can be found on his website:<br />
<a href="http://www.dinovalls.com/en/gallery/102/" target="_blank">http://www.dinovalls.com/en/gallery/102/</a><br />
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<b>The Original Van Gogh's Ear Anthology:</b><br />
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The idea for starting an international anthology of prose, poetry and art from people of all walks of life, everywhere in the world, began with Allen Ginsberg. He said creativity is a great way to bring people together. We discussed giving a chance to never-before-known talents by publishing them alongside the famous. He said everyone’s a genius. It’s just a matter of how one’s genius is expressed. Since Allen was the inspiration for the anthology series, it seemed only right to read through all of the contents of Allen Ginsberg’s Collected Poems 1947-1980 for a title. When my eyes landed on his poem ‘Death to Van Gogh’s Ear,’ I immediately knew. The poem begins: ‘Poet is Priest / Money has reckoned the soul of America.’ Those first two lines pretty much sum up what the poem is about. And it was written in Paris, December 1957. I knew then that Van Gogh’s Ear would be the anthology’s title.”<br />
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~ Ian Ayres, creator of the original<br />
Van Gogh’s Ear Anthology Series<br />
<h2>
<span class="Apple-style-span" style="color: red;">MONDAY</span></h2>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-QlGkakoZyO4/UaHw7FSlypI/AAAAAAAAAuc/QQaeTjqMAC4/s1600/Screen+shot+2013-05-26+at+12.23.29.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="215" src="http://4.bp.blogspot.com/-QlGkakoZyO4/UaHw7FSlypI/AAAAAAAAAuc/QQaeTjqMAC4/s400/Screen+shot+2013-05-26+at+12.23.29.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">SALT PUBLISHING - have announced that they are no longer publishing single author poetry collections.</td></tr>
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The poetry publishing world has been rocked this week with the sad news that Salt Publishing have decided not to publish single author editions. They cite the fall of sales for such work as the cause. All the more reason to support the publishers still around.<br />
<a href="http://www.guardian.co.uk/books/2013/may/24/salt-poetry-market-slump" target="_blank">http://www.guardian.co.uk/books/2013/may/24/salt-poetry-market-slump</a><br />
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<span class="Apple-style-span" style="color: red;">TUESDAY:</span></h2>
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Fulcrum - the annual of poetry and aesthetics - seemed to have been dormant over the last couple of years. However, there are significant signs of life and interest over at its new fb page.</div>
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<tr><td>One of the most significant spaces ever created for poetry interaction anywhere at any time, <em>Fulcrum</em> is a masterpiece.</td></tr>
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—John Kinsella, Cambridge University</div>
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<tr><td><em>Fulcrum</em> serves as a primary resource for anyone interested in diverse poetic practices not only from these States, but also from around our trembling globe.</td></tr>
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—Michael Palmer</div>
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<tr><td>Just exactly that—<em>poetry and aesthetics</em> bound like a new literary bible telling me the prophecy of what seems to me this (to coin a phrase) New Literary Largess… I constantly had the feeling of being on the cusp of a great new movement, not only in literary journals, but in contemporary poetry and scholarship as well while reading <em>Fulcrum</em>. … Proximity with perfection, a feat of a journal!</td></tr>
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—<em>Literary Magazine Review</em></div>
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<span class="Apple-style-span" style="font-size: x-small;"><a href="https://www.facebook.com/pages/FULCRUM-an-annual-of-poetry-and-aesthetics/19132964296" target="_blank">https://www.facebook.com/pages/FULCRUM-an-annual-of-poetry-and-aesthetics/19132964296</a></span><br />
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<span class="Apple-style-span" style="color: red;">WEDNESDAY:</span></h2>
<a href="http://4.bp.blogspot.com/-8gFaapyUhYk/UaHyTjG-KtI/AAAAAAAAAuo/X1tn942CAQM/s1600/Screen+shot+2013-05-26+at+12.29.47.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-8gFaapyUhYk/UaHyTjG-KtI/AAAAAAAAAuo/X1tn942CAQM/s320/Screen+shot+2013-05-26+at+12.29.47.png" width="211" /></a>PL Travers, author of Mary Poppins on writing, on her meeting with AE, and the links between Mary Poppins and the Great Mother Goddess Kali!<br />
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"Æ’s reaction to Mary Poppins is very interesting. You report his saying, “Had [Mary Poppins] lived in another age, in the old times to which she certainly belongs, she would undoubtedly have had long golden tresses, a wreath of flowers in one hand, and perhaps a spear in the other. Her eyes would have been like the sea, her nose comely, and on her feet winged sandals. But, this age being the Kali Yuga, as the Hindus call it, . . . she comes in habiliments suited to it.” It seems that Æ was suggesting that your English nanny was some twentieth-century version of the Mother Goddess Kali."<br />
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<a href="http://www.theparisreview.org/interviews/3099/the-art-of-fiction-no-63-p-l-travers" target="_blank">http://www.theparisreview.org/interviews/3099/the-art-of-fiction-no-63-p-l-travers</a><br />
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<span class="Apple-style-span" style="color: red;"><br />THURSDAY:</span></h2>
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Erskine Caldwell, on writing and listening:</div>
With more than eighty million books sold to readers in nearly forty different languages, Erskine Caldwell is one of the most widely read literary figures of the twentieth century. His novel <i>God’s Little Acre</i> has alone sold over fourteen million copies. His books have been made into three movies and three plays; the stage adaptation of <i>Tobacco Road </i>made American theater history when it ran for seven and a half years on Broadway. A versatile and prolific writer, Caldwell is the author of almost sixty books, including novels, short-story collections, autobiographical volumes, interpretive travel books, children’s books, and photo-essay volumes (such as the recently reissued You Have Seen Their Faces) done in collaboration with the photographer Margaret Bourke-White.<br />
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<a href="http://www.theparisreview.org/interviews/3098/the-art-of-fiction-no-62-erskine-caldwell" target="_blank">http://www.theparisreview.org/interviews/3098/the-art-of-fiction-no-62-erskine-caldwell</a><br />
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<b><span class="Apple-style-span" style="color: red;">FRIDAY:</span></b></h2>
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<a href="http://4.bp.blogspot.com/-xVkmZFFJZn8/UaHc5qBePYI/AAAAAAAAAts/1tiOslEnjnE/s1600/Screen+shot+2013-05-26+at+10.58.08.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-xVkmZFFJZn8/UaHc5qBePYI/AAAAAAAAAts/1tiOslEnjnE/s1600/Screen+shot+2013-05-26+at+10.58.08.png" /></a>RUTH JACOBS is a writer and researcher. Her books<br />
Soul Destruction and Soul Destruction Diary expose the dark world and the harsh reality of life as a call girl. "I draw on my research and the women I interviewed for inspiration. I also have firsthand experience of many of the topics I write about such as posttraumatic stress disorder, and drug and alcohol addiction."<br />
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She recently wrote a short story, <i><b>Protection</b></i>, which can be read online <a href="http://soul-destruction.com/shorts/">here</a>, and plans to write some more shorts in the future. In addition to my fictional writing and the current charity publication, I also have a page on the Soul Destruction website dedicated to exited women. On the <a href="http://soul-destruction.com/voices-of-prostitution-survivors/">Voices of Prostitution Survivors</a> page you can read firsthand accounts shared bravely by women who have lived through and survived prostitution.<br />
You can take a look at the huge variety of interviews with other writers which Ruth has held over the last year on her site In the Booth with Ruth:<br />
<a href="http://ruthjacobs.co.uk/in-the-booth-with-ruth-writer-interviews-list/" target="_blank">http://ruthjacobs.co.uk/in-the-booth-with-ruth-writer-interviews-list/</a><br />
<h2>
<span class="Apple-style-span" style="color: red;">SATURDAY:</span></h2>
James Joyce, Writer - an exciting new page which publishes interviews and photographs of Joyce:<br />
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<a href="http://3.bp.blogspot.com/-OcwMXddwJO4/UaHpBDpYp3I/AAAAAAAAAuE/fD2cvOIA-vI/s1600/Screen+shot+2013-05-26+at+11.49.39.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="249" src="http://3.bp.blogspot.com/-OcwMXddwJO4/UaHpBDpYp3I/AAAAAAAAAuE/fD2cvOIA-vI/s320/Screen+shot+2013-05-26+at+11.49.39.png" width="320" /></a></div>
This is an example of one the lesser known photographs and quotes which the page will be carrying"<br />
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"Poetry, even when apparently most fantastic, is always a revolt against artifice, a revolt, in a sense, against actuality. It speaks of what seems fantastic and unreal to those who have lost the simple intuitions which are the test of reality; and, as it is often found at war with its age, so it makes no account of history, which is fabled by the daughters of memory."<br />
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-- James Joyce "James Clarence Mangan" (1902), a lecture on that Irish poet delivered at the Literary and Historical Society, University College, Dublin on February 1, 1902. It appeared in the college magazine St. Stephen's. Joyce also refers to Mangan in "Araby" in Dubliners, a rare self-acknowledged Irish literary influence on Joyce.<a href="https://www.facebook.com/pages/James-Joyce-writer/332196660243207" target="_blank">https://www.facebook.com/pages/James-Joyce-writer/332196660243207</a><br />
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com2tag:blogger.com,1999:blog-3260639840088517229.post-1533084622599854862013-05-19T03:10:00.000-07:002013-05-19T03:10:07.258-07:00Highly Recommended 19th May, 2013.<h2>
<span class="Apple-style-span" style="color: red;">Sunday:</span></h2>
<b>The World's Largest Book Publishers, 2012 </b>- Publisher's Weekly have published their list of the world's largest book publishers.<br />
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<a href="http://3.bp.blogspot.com/-wmHIkG_6Pok/UZibXuRm8VI/AAAAAAAAAss/r5QG5HcbxOU/s1600/Screen+shot+2013-05-19+at+10.28.35.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="157" src="http://3.bp.blogspot.com/-wmHIkG_6Pok/UZibXuRm8VI/AAAAAAAAAss/r5QG5HcbxOU/s320/Screen+shot+2013-05-19+at+10.28.35.png" width="320" /></a></div>
Lead by Pearson Plc, who publish over 4,000 fiction and non-fiction books each year and has generated an extra 11% of total sales in markets in China, India, Africa and Latin America.<br />
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Interesting to see the change in ranking and in revenues. While there is some change, these companies continue their global sales. Click on each company to view a profile of the publishing house:<br />
<a href="http://www.publishersweekly.com/pw/by-topic/industry-news/financial-reporting/article/52677-the-world-s-54-largest-book-publishers-2012.html" target="_blank">http://www.publishersweekly.com/pw/by-topic/industry-news/financial-reporting/article/52677-the-world-s-54-largest-book-publishers-2012.html</a><br />
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<h2>
<span class="Apple-style-span" style="color: red;">Monday:</span></h2>
<b>Show Us the Money:</b><br />
The review review and Every Writers Resource have published lists of magazines who will actually pay you for your work. Keep an eye on these. The lists are not exhaustive but are a good starting point:<br />
<a href="http://www.thereviewreview.net/publishing-tips/show-me-literary-magazines-pay" target="_blank">http://www.thereviewreview.net/publishing-tips/show-me-literary-magazines-pay</a><br />
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<a href="http://www.everywritersresource.com/writingsense/2013/03/literary-magazines-the-pay/" target="_blank">http://www.everywritersresource.com/writingsense/2013/03/literary-magazines-the-pay/</a><br />
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I note that <b><i>Descant</i></b> has been overlooked in both lists above and so, to redress the balance here is a separate link to it.<br />
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<b><i>Descant</i></b> is a quarterly journal publishing new and established contemporary writers and visual artists from Canada and around the world. Begun in 1970 as a mimeograph, Descant has evolved into a journal of international acclaim. <div>
Over the years many ground-breaking special editions of Descant have been published, including issues focusing on single artists such as Dennis Lee, Michael Ondaatje and R. Murray Schafer, theme issues such as Male Desire, Romantic Love, Anatomy and Music, and issues exploring the culture of countries such as India, Australia/New Zealand, China, the former Yugoslavia and Japan.</div>
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<br />Based in Toronto, it has been publishing literary fiction for five decades and also offers a payment for your work: <a href="http://www.descant.ca/contact" target="_blank">http://www.descant.ca/contact</a><br />
<h2>
<span class="Apple-style-span" style="color: red;">Tuesday:</span></h2>
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<a href="http://2.bp.blogspot.com/-j8bYRjG5Sqk/UZikFxwfrdI/AAAAAAAAAtc/sSALHj-zmHA/s1600/Screen+shot+2013-05-19+at+11.05.47.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-j8bYRjG5Sqk/UZikFxwfrdI/AAAAAAAAAtc/sSALHj-zmHA/s320/Screen+shot+2013-05-19+at+11.05.47.png" width="215" /></a></div>
An exciting new collection from John W. Sexton was launched this week. <br /><br />"In the poems of The Offspring of the Moon, John W. Sexton speaks to a tradition deeply rooted in the Irish literary imagination: from the oral tales and myths of pre-Christian times, through the gothic horrors of Sheridan Le Fanu and Bram Stoker, to the early science-fictional romances of Fitz-James O'Brien and M. P. Shiel. These are poems of the altered mind, the cosmic journey, the daemons and totems of the spirit world, the subversion of logic and science.<br /><br />"More excitingly than any other poet presently writing in Ireland, Sexton thinks the world anew. His poems offer a unique, provocative adventure through a landscape surreal as a dream, lyrical and terrifying as a fairytale. Yet for all its absorbing forays into the visionary, his work remains anchored by a profound and often painful wisdom. Breathing the exotic into plainness, Sexton pushes back the flawed boundaries of ordinary life. He satisfies our desire for a world porous with imagination, potent with subconscious symbology readable on the surface of the quotidian like Braille."</div>
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<br />"Unquestionably Sexton has the visionary power and imaginative reach of writers such as H. G. Wells, Ray Bradbury, Heinrich Hoffman and Edward Lear, but his most feverish scope for creative conjuring is matched by an equal and outstanding dedication to craft." - Grace Wells (Contrary)<br /><br />"Sexton’s own sure hand with poetic craft is extraordinary, and he’s not afraid to put it to use, whether for delicate lyrics or for horror. Highly recommended." - Dr. Suzette Haden Elgin (The Linguistics & Science Fiction Newsletter)<br /><br />"A lively and inventive poet." - Books Ireland<br /><br />"A fine control of form and sureness of phrasing." - Knute Skinner<br /><br />"Remarkable remintings of the dark fantasy inherent in much folktale and song and its abiding archetypal intrusion into our surface modernity in stress." - Steve Sneyd (Data Dump #90)"<span class="Apple-style-span" style="color: red; font-size: x-small;"><a href="http://www.amazon.com/The-Offspring-Moon-ebook/dp/B00COQSRH6/ref=sr_1_1" target="_blank">http://www.amazon.com/The-Offspring-Moon-ebook/dp/B00COQSRH6/ref=sr_1_1</a></span><br />
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<span class="Apple-style-span" style="color: red;">Wednesday:</span></h2>
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<b>The Fenton Aldeburgh First Collection Prize</b> - any first collection of poetry, of at least 40 pages with primary publication in the UK and Republic of Ireland between 1 August 2012 and 31 July 2013 is eligible. Submissions can be from publishers or individual poets.<br />
<br />The deadline for receiving three bound or proof copies with a note of the date of publication will be Friday 26th July 2013.</div>
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<span class="Apple-style-span" style="color: #58666f; font-family: Arial, Helvetica, sans-serif; font-size: 14px; line-height: 18px;"><a href="http://www.thepoetrytrust.org/site/aldeburgh-first-collection-prize/2012-the-winner/" target="_blank">http://www.thepoetrytrust.org/site/aldeburgh-first-collection-prize/2012-the-winner/</a></span><h2>
<span class="Apple-style-span" style="color: red;">Thursday:</span></h2>
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<span class="Apple-style-span" style="font-size: small; font-weight: normal;">Bradshaw Books have announced the </span><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><b>Cork Literary Review Poetry Manuscript Competition 2013</b></span><span class="Apple-style-span" style="font-size: small; font-weight: normal;">, aimed at giving emerging writers the opportunity to publish their first collection of poetry.</span></h2>
The prize includes: 1. The publication of a first collection by the winning poet. 2. The competition winner and two runners-up will also be featured in Volume XVI of the Cork Literary Review. (There is a hefty registration fee, £20., but this competition is worth looking at.) This year’s judge is: Joseph Woods of Poetry Ireland. Deadline: 18th Jun 13.<br />For more details visit <a href="http://www.bradshawbooks.com/?custom-block=available-services">bradshawbooks.com</a> <br />
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<span class="Apple-style-span" style="color: red;">Friday:</span></h2>
<b><span class="Apple-style-span" style="font-size: large;">Poetry International Festival Rotterdam:</span></b><br />
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<a href="http://1.bp.blogspot.com/-npB5ekv7e2A/UZih6F0zM6I/AAAAAAAAAtM/aCRK6t1kSmI/s1600/Screen+shot+2013-05-19+at+10.56.12.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-npB5ekv7e2A/UZih6F0zM6I/AAAAAAAAAtM/aCRK6t1kSmI/s400/Screen+shot+2013-05-19+at+10.56.12.png" width="317" /></a></div>
<b>11th - 15th June:<br /><br />For the 44th time in a row, Poetry International brings you a selection of the best poets from all over the world for an annual poetry spectacle in the Rotterdam municipal theatre. </b></div>
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Adonis, John Ashberry, Ken Babstock, Daniel Banulescu, James Byrne, Kwame Dawes, Elke Erb, Jan Glas, Karinna Alves Guilias, Roland Jooris, Ilya Kaminsky, Liu Waitong, Michele Metail, Emmanuel Moses, Ester Naomi Perquin, Qin Xiaoyu, Mustafa Stitou, Yang Lian, Knut Odergard.</div>
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<a href="http://www.poetryinternationalweb.net/pi/site/festival/index/en" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://www.poetryinternationalweb.net/pi/site/festival/index/en</span></a></div>
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-72689461024625692952013-05-12T05:23:00.002-07:002013-05-12T05:51:56.997-07:00Highly Recommended 12th May, 2013.<h2>
<span class="Apple-style-span" style="color: red;">MONDAY</span></h2>
<h3 style="text-align: center;">
<b><span class="Apple-style-span" style="color: #660000; font-size: large;">“To Autumn”: Keats’ Perfect Poem.</span></b></h3>
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<a href="http://1.bp.blogspot.com/-eK4HHAyyFzE/UY-JnXdLdGI/AAAAAAAAAr8/2j5sh19OWPg/s1600/Screen+shot+2013-05-12+at+13.22.23.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-eK4HHAyyFzE/UY-JnXdLdGI/AAAAAAAAAr8/2j5sh19OWPg/s320/Screen+shot+2013-05-12+at+13.22.23.png" width="254" /></a></div>
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<span class="Apple-style-span" style="font-size: small; font-weight: normal;"><b>An essay by Steve Zelnick.</b></span></h3>
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“To Autumn” is an adventure in language and its power to evoke feeling, reaching beyond reasoning to accentuate sensuous qualities – tone, rhythm, and the kinesthetic horizon of sound-sense. Keats’ poem explores the extent to which language can be both music and dance and also invite the speaker/reader to imitate the vital forces of nature. More than holding the mirror up to nature, “To Autumn” asks the reader to be it rather than simply to see it. Here he follows closely the desire of the speaker of Wordsworth’s sonnet who wishes to regain the primitive mind and the radiance of the chthonic gods. However, Keats by-passes his argument in order to accomplish what Wordsworth’s speaker only thinks about.<a href="http://drszellitessays.wordpress.com/2013/05/08/to-autumn-keats-perfect-poem/" target="_blank">http://drszellitessays.wordpress.com/2013/05/08/to-autumn-keats-perfect-poem/</a><br />
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<b><span class="Apple-style-span" style="color: red;">TUESDAY:</span></b></h2>
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<b><span class="Apple-style-span" style="color: #660000;"><a href="http://1.bp.blogspot.com/--sTJV4bOtN0/UY-HDVHWg9I/AAAAAAAAArk/IzeefjOlZkA/s1600/Screen+shot+2013-05-12+at+13.11.32.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/--sTJV4bOtN0/UY-HDVHWg9I/AAAAAAAAArk/IzeefjOlZkA/s1600/Screen+shot+2013-05-12+at+13.11.32.png" /></a><b><span class="Apple-style-span" style="color: #660000;"><br /></span></b></span></b></div>
<b><span class="Apple-style-span" style="color: #660000;">
Poetry Northeast</span></b> was founded in 2012 as a private publication associated with the Boston Poetry Union and published by the Pen & Anvil Press. The journal has no particular thematic or regional emphasis; the editors seek only to publish poems which are effective, memorable, and worth reading. We are as eager to publish an author writing in Bora Bora as one from Boston, but we are not slavishly committed to a global scope. Given the nature of literary relationships—those ties woven from shared experiences, influences, temperament—we expect that the contents of our issues will tend toward a Northeast or New England contributorship. That tendency should not be mistaken for a regional focus. It is the editors' intention that PoNE will earn a reputation for publishing and promoting writers whose mastery of craft and artistic sensibilities combine in poems that have enduring quality.<br />
<br />
<b>Zachary Bos</b> is the founding, and present, Editor. Jenna Dee is the Project Manager. Contributing editors do or have included Sean Smeland; Walter Smelt; Jenna Dee; Erin McDonagh; Matthew Kelsey; Robert Morris; Catherine Ahearn; Michael Healy; Adam Fitzgerald; Johanna Jacobson; and Ryne Hager.</div>
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<a href="http://poetryne.org/about/" target="_blank">http://poetryne.org/about/</a><br />
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<b><span class="Apple-style-span" style="color: #660000;">Poetry Northeast </span></b>publishes poetry, essays and reviews. Take a look at this essay by <span class="Apple-style-span" style="color: #660000;"><b>Yoby Henthorn </b></span>on the poetry of Joan Kane, a writer concerned with the cultural integrity of the Inuit people.<br />
<a href="http://www.blogger.com/Remembering%20Spirit:%20%20on%20the%20poetry%20of%20Joan%20Kane" target="_blank">Remembering Spirit: on the poetry of Joan Kane </a><br />
<h2>
<span class="Apple-style-span" style="color: red;">WEDNESDAY</span></h2>
<a href="http://2.bp.blogspot.com/-cijOiw0b6Y0/UY977f32lsI/AAAAAAAAArE/zHLhpPRvTZM/s1600/Screen+shot+2013-05-12+at+12.22.22.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="172" src="http://2.bp.blogspot.com/-cijOiw0b6Y0/UY977f32lsI/AAAAAAAAArE/zHLhpPRvTZM/s320/Screen+shot+2013-05-12+at+12.22.22.png" width="320" /></a><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="color: blue;">Poethead</span> - by Chris Murray.</span><br />
<span class="Apple-style-span" style="font-size: large;"><br /></span>
<span class="Apple-style-span" style="font-size: large;"> A blog which is dedicated to increasing the visibility of women poets, as well as the the odd male!</span><br />
"The kernel of this blog is based in promoting and discussing women poets, editors, writers and translators. This blog came about because I could not access many women writers nor indeed adequate translations of women poets’ work. This is an academic and historic lack which is not readily acknowledged here in Ireland.<br />
<br />
I wrote a note about publishing women poets <a href="http://poethead.wordpress.com/a-list-of-poets-from-poethead/">here</a>. The premise of it is simple enough : I use technology to increase the visibility of women writers and editors’ work through devoting a small part of this blog to platforming poetry written by women."<br />
<div style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: #404040; font-family: inherit; font-size: 15px; font-style: inherit; font-weight: inherit; line-height: 22px; margin-bottom: 1.5em; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-align: justify; vertical-align: baseline;">
<span style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: white; font-family: inherit; font-size: 15px; font-style: inherit; font-weight: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: initial; outline-width: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">.<a href="http://poethead.wordpress.com/c-murray-the-poethead-site/" target="_blank">http://poethead.wordpress.com/c-murray-the-poethead-site/</a></span></div>
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<h2>
<span class="Apple-style-span" style="color: red;">THURSDAY</span></h2>
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<span class="Apple-style-span" style="font-family: 'PT Sans Narrow', sans-serif; line-height: 20px;"><span class="Apple-style-span" style="font-size: large;"><b>Lawrence R. Smith, </b></span></span><span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><b>Editor and Founder of </b></span></span><span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><b>Caliban Online Magazine</b></span></span><span class="Apple-style-span" style="line-height: 20px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><b>has recently published an online edition of the magazine. </b></span></span><br />
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In the mid-80s, American politics and writing took a turn to the right. The great American tradition of innovative, imaginative writing, from Whitman and Dickinson through the giants of the 20th century, was overshadowed by an obsession with literary formalism. Lawrence R. Smith founded Caliban in 1986 to counter this tendency. Writers who flourished in George Hitchcock’s legendary kayak magazine, which closed in 1984, moved to Caliban: Raymond Carver, Robert Bly, Colette Inez, James Tate, W.S. Merwin, Michael McClure, Charles Simic, Diane Wakoski, Philip Levine, Louis Simpson, Russell Edson, and many others. Writers who had never published in kayak also joined the Caliban scene: William Burroughs, Maxine Hong Kingston, Jim Harrison, Wanda Coleman, Louise Erdrich, William Stafford, among a host of others. Caliban was an immediate success, praised by Andrei Codrescu in a review of issues #1 and #2 on NPR’s “All Things Considered” and given a Coordinating Council of Little Magazines award for outstanding new magazine. The print Caliban was also awarded three National Endowment for the Arts grants. The Bancroft Library of the University of California, Berkeley, purchased the Caliban archives in 1997. </div>
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In 2010, fourteen years after the physical magazine closed, Smith started a virtual version online: it has the same design, format, and even the same typeface. Along with the outstanding contributors that characterized the old magazine, the new Calibanonline features full color, high-resolution art reproductions throughout each issue, as well as short art videos and recordings of original musical compositions.</div>
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Calibanonline magazine is an internationally recognized literary and arts magazine featuring avant-garde writing, high resolution art reproductions, short art video, and musical compositions, under the leadership of founder and editor Lawrence R. Smith.</div>
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<a href="http://www.calibanonline.com/index.html" target="_blank">http://www.calibanonline.com/index.html</a></div>
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<h2>
<span class="Apple-style-span" style="color: red;">FRIDAY</span></h2>
<b>Relics of Bion in Beckett: </b></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-22fMiTnHxM4/UY-Iu8migiI/AAAAAAAAArw/gI5nvlmUjHc/s1600/Screen+shot+2013-05-12+at+13.18.42.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><b><img border="0" height="225" src="http://4.bp.blogspot.com/-22fMiTnHxM4/UY-Iu8migiI/AAAAAAAAArw/gI5nvlmUjHc/s400/Screen+shot+2013-05-12+at+13.18.42.png" width="400" /></b></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 18px;"><b>George Viszt, Samuel Beckett Faces Series, tempera.<br />Courtesy of the SAMUEL BECKETT fb page.</b></span></td></tr>
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<b>‘Attacks on Linking’ in Beckett’s letters; </b></div>
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<b>Closed Systems and a Mapping of the Mind in Murphy and ‘The Grid’ </b><br />
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Between January 1934 and December 1935 Samuel Beckett underwent psychotherapy at the Tavistock clinic with the then little known psychotherapist, Wilfred Bion. Bion has become best known for his work on the psychology of groups, although much of his work, such as ‘The Grid’, focuses on the development of and capacity for thought.</div>
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This essay looks closely at the relationship between Beckett and Psychoanalysis:<br />
<a href="http://stetjournal.org/wp-content/uploads/2010/10/Relics-of-Bion-in-Beckett.pdf" target="_blank">http://stetjournal.org/wp-content/uploads/2010/10/Relics-of-Bion-in-Beckett.pdf</a><br />
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<h2>
<span class="Apple-style-span" style="color: red;">SATURDAY</span></h2>
<b>ArtBeat</b> is an arts show that was broadcast from 1998 until 2007 in the Mid and Northwest region of Ireland. For almost a decade Artbeat highlighted the arts in the region and the many artists, performers and community arts projects both from here in Ireland and abroad.<br />
<br />
<b>Podcast.ie</b> are currently placing the highlights of Artbeat on Podcasts.ie for your enjoyment. You can imagine this a major body of work with the best bits from almost 500 hour long shows.<br />
There are some wonderful readings and reviews of artists here:<br />
<a href="http://www.podcasts.ie/weekly-shows/the-artbeat-archive/" target="_blank">http://www.podcasts.ie/weekly-shows/the-artbeat-archive/</a><br />
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<h2>
<span class="Apple-style-span" style="color: red;"><b>SUNDAY:</b></span></h2>
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<b>CYPHERS</b> - one of Ireland's oldest literary magazines, has just released it's latest edition. Featuring work from:<br />
Knute Skinner; Howard Wright; Hugh O'Donnell; the late Jean-Pierre Rosnay (whose café littéraire I visited in Pars); Macdara Woods; Tom French; Patricia O'Callaghan; Ainín Ní Bhroin; Ciaran O'Driscoll; Patrick Deeley; Rosemarie Rowley; with visual art and reviews. <a href="http://www.cyphers.ie/" target="_blank">http://www.cyphers.ie/</a><br />
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-57830209739102946252013-05-05T05:43:00.002-07:002013-05-06T01:38:29.074-07:00Highly Recommended: 5th May, 2013.<h2>
<span class="Apple-style-span" style="color: red;">Sunday:</span></h2>
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<span class="byline" style="display: block;">Djelloul Marbrook sent this article on Edna O'Brien.</span><span class="byline" style="display: block;">By Charles McNulty, Los Angeles Times. </span><span class="byline" style="display: block;"><span class="Apple-style-span" style="color: black; font-family: Georgia, 'Times New Roman', Times, serif; line-height: 22px;"><br /></span></span><span class="byline" style="display: block;"><span class="Apple-style-span" style="color: black; font-family: Georgia, 'Times New Roman', Times, serif; line-height: 22px;">History is said to be written by the victors. Fiction, by contrast, is largely the work of injured bystanders. </span></span><span class="byline" style="display: block;"><span class="Apple-style-span" style="color: black; font-family: Georgia, 'Times New Roman', Times, serif; line-height: 22px;"><b><br /></b></span></span><span class="byline" style="display: block;"><span class="Apple-style-span" style="color: black; font-family: Georgia, 'Times New Roman', Times, serif; line-height: 22px;"><b>Edna O'Brien</b>, who retells her provocative life in "Country Girl," represents a classic Irish case. A novelist whose promise found fulfillment in the short-story form, she had to exile herself, like Joyce and Beckett, to become herself. Mad Ireland hurt her into prose the way Auden said it had hurt Yeats into poetry</span></span></div>
<a href="http://www.latimes.com/features/books/jacketcopy/la-ca-jc-edna-obrien-20130428,0,1569476.story" target="_blank">http://www.latimes.com/features/books/jacketcopy/la-ca-jc-edna-obrien-20130428,0,1569476.story</a><br />
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<span class="Apple-style-span" style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); font-size: 24px; font-weight: bold;"><b><span class="Apple-style-span" style="color: red;">Monday: </span></b></span><br />
Katia Kapovich -<br />
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<a href="http://1.bp.blogspot.com/-xaTE-CNhttI/UYZQsrFkCNI/AAAAAAAAApo/y4hPxGZBSUk/s1600/Screen+shot+2013-04-28+at+12.14.02.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-xaTE-CNhttI/UYZQsrFkCNI/AAAAAAAAApo/y4hPxGZBSUk/s320/Screen+shot+2013-04-28+at+12.14.02.png" width="241" /></a></div>
Great interview here by <b>Marc Vincenz</b> <span class="Apple-style-span" style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875);">with <b>Katia Kapovich, winner of the 2013 Russian Literature Prize.</b></span><br />
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It's quite an indepth look at the the Russian literary scene of the 1980's, pre and post perestroika, and also into the development of Kapovich's writing.<br />
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<a href="http://www.openlettersmonthly.com/voices-before-and-after-the-storm/">http://www.openlettersmonthly.com/voices-before-and-after-the-storm/</a><br />
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<span class="Apple-style-span" style="color: red;"><b>TUESDAY:</b></span></h2>
<a href="http://3.bp.blogspot.com/-sq8cINS6PKA/UYZEWB9J9gI/AAAAAAAAApM/hy5bn1xvyRc/s1600/Screen+shot+2013-05-05+at+12.36.22.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-sq8cINS6PKA/UYZEWB9J9gI/AAAAAAAAApM/hy5bn1xvyRc/s320/Screen+shot+2013-05-05+at+12.36.22.png" width="204" /></a><span class="Apple-style-span" style="font-size: large;">John Sexton's latest collection </span><br />
<span class="Apple-style-span" style="font-size: large;"><i style="font-weight: bold;">The Offspring of the Moon </i></span><br />
<span class="Apple-style-span" style="font-size: large;">is being launched this week. </span><br />
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<span class="Apple-style-span" style="font-size: large;">For those of you lucky enough to be in or near Kenmare in Co. Kerry, on the 10th May, you should take yourself down to the </span><br />
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<span class="Apple-style-span" style="font-size: large;">Carnegie Arts Centre at 8 p.m. for a wonderful night of poetry and fun.</span><br />
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<span style="font-size: medium;"><span class="Apple-style-span" style="color: red;"><b>WEDNESDAY</b></span></span><span style="color: #444444; font-size: medium;">:</span></h2>
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<span style="color: #444444; font-size: medium;">ISSIMO MAGAZINE is a new tablet publication showcasing the creativity and ingenuity of Australian performers, artists, designers, filmmakers, authors, architects, musicians, photographers, epicureans, visionaries and entrepreneurs.</span></div>
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<a href="http://2.bp.blogspot.com/-yVYsK8C1_jc/UX0aF1cBgCI/AAAAAAAAAm8/elJlslsLA9I/s1600/Screen+shot+2013-04-28+at+13.45.34.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="210" src="http://2.bp.blogspot.com/-yVYsK8C1_jc/UX0aF1cBgCI/AAAAAAAAAm8/elJlslsLA9I/s320/Screen+shot+2013-04-28+at+13.45.34.png" width="320" /></a>Our vision is a bi-monthly magazine that features authentic work and ideas that are not covered anywhere else.</div>
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The magazine is published digitally so we can distribute it globally, across borders and cultures instantaneously.</div>
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<a href="http://www.pozible.com/project/19960/117596#.UXpEQgA0juY.facebook" target="_blank">http://www.pozible.com/project/19960/117596#.UXpEQgA0juY.facebook</a><br />
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<b><span class="Apple-style-span" style="color: red;">THURSDAY:</span></b></h2>
<b>World Literature Today </b>has published an extract from Shaheen Akhtar's third novel, based upon a legend from eighteenth-century Bengal. <b><i><span class="Apple-style-span" style="color: red;">Shokhi Rongomala</span></i></b> follows Rongomala, a beautiful and charismatic lower-caste woman who becomes the mistress of Raj Chandra Chowdhury, a zamindar or upper-caste feudal landlord. The novel is peopled with unforgettable characters: the autocratic queen-mother, Shumitra, trying to save the kingdom from the vagaries of the menfolk; the young queen, Phuleswari, with her bird menagerie and generous soul; Heera Dashi, high-ranking maid in the royal household born of rape by a Portuguese pirate, a key player in the machinations of the palace; and, of course, Rongomala, whose rise and fall from grace forms the central arc of the narrative. All these women learn to rise beyond their circumstances to wield power in different ways. Shokhi Rongomala is a story of identity and connection: even in the face of Rongomala’s assassination and Phuleswari’s loss of all, what endures is Phuleswari’s sense of sisterhood with Rongomala.<br />
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Shaheen Akhtar is the author of five collections of short stories and three novels—Palabar Path Nei (No Escape Route); Talaash (The Search); and Shokhi Rongomala.Talaash won the Best Book of the Year Award for 2004 from Prothom Alo, the largest-circulation daily newspaper in Bangladesh. The English translation of the novel was published in 2011 by Zubaan Books, Delhi, India. Akhtar has also edited the three-volume Soti O Swotontora: Bangla Shahitye Nari about the portrayal of women in Bengali literature. She currently works for Ain O Salish Kendra (ASK), a human rights / legal aid organization in Dhaka, Bangladesh.</div>
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The extract can be found here:<br />
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<a href="http://www.worldliteraturetoday.org/2013/may/beloved-rongomala-excerpt-shaheen-akhtar#.UYZH0OChDzI" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://www.worldliteraturetoday.org/2013/may/beloved-rongomala-excerpt-shaheen-akhtar#.UYZH0OChDzI</span></a><br />
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<span class="Apple-style-span" style="color: red;">FRIDAY: </span></h2>
The SAMUEL BECETT page sent out this video of poet John Montague talking about various meetings he had with Beckett.<br />
<a href="http://1.bp.blogspot.com/-Hl2V0bMUY78/UYY68iP3PSI/AAAAAAAAAow/U21kJ4qvH08/s1600/Screen+shot+2013-05-05+at+11.56.14.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="218" src="http://1.bp.blogspot.com/-Hl2V0bMUY78/UYY68iP3PSI/AAAAAAAAAow/U21kJ4qvH08/s320/Screen+shot+2013-05-05+at+11.56.14.png" width="320" /></a><br />
A nice example of Montague's, and Beckett's wit.<br />
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"We had discussions about various productions of his works because already he was becoming so well known that he couldn't control them all… I think also he was partly afraid because he was becoming world famous… and he was afraid of the Nobel…. He said that he'd heard along the grapevine that the Nobel Prize might be offered to him and he said of course excitedly 'I can't take it' … that's what Sartre did and I can't do that … A while later he told us that 'That's being taken care of by my publisher, and he's going to tell them that I don't want it, but I have to take it."<br />
<a href="https://www.youtube.com/watch?v=HtzeZKHSU7o&list=PLBBE0289A6D84220F&index=7" target="_blank">https://www.youtube.com/watch?v=HtzeZKHSU7o&list=PLBBE0289A6D84220F&index=7</a><br />
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<b>The New York State Writers Institute </b>have a great collection of short videos of writers here:<br />
<a href="https://www.youtube.com/user/NYSWritersInstitute?feature=watch" target="_blank">https://www.youtube.com/user/NYSWritersInstitute?feature=watch</a><br />
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<b><span class="Apple-style-span" style="color: red;">SATURDAY</span></b>:</h2>
<b><span class="Apple-style-span" style="color: red;">Jessie Lendenning reading here at the O'Bheal</span></b> - after a lengthy introduction Jessie gets into her stride and you can listen to her at the link below:<br />
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Jessie Lendennie was born in Arkansas, USA. After years of travel, she settled in Ireland in 1981. Her previous publications include a book-length prose poem Daughter (1988); reprinted as Daughter and Other Poems in 2001. She complied and edited: Salmon: A Journey in Poetry, 1981-2007; Poetry: Reading it, Writing It, Publishing It (2009) and Dogs Singing: A Tribute Anthology (2010). Her latest collection of poetry isWalking Here (Salmon Poetry, 2011)<br />
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Jessie is co-founder (1981) and Managing Director of Salmon Poetry (<a href="http://www.salmonpoetry.com/">www.salmonpoetry.com</a>). Her poems, essays and articles have been widely published and she has given numerous readings, lectures and writing courses in Ireland and abroad, including Yale University; Rutgers University; The Irish Embassy, Washington D.C; The University of Alaska, Fairbanks and Anchorage; MIT, Boston; The Loft, Minneapolis, MN; Café Theatre, Copenhagen, Denmark; the University of Arkansas, Fayetteville; The Irish American Cultural Centre, Chicago and The Bowery Poetry Club, New York City. She is currently working on a memoir, To Dance Beneath the Diamond Sky.<a href="http://www.obheal.ie/blog/audio/Guest%20Reading%20-%20Jessie%20Lendennie.mp3" target="_blank">http://www.obheal.ie/blog/audio/Guest%20Reading%20-%20Jessie%20Lendennie.mp3</a><br />
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<span class="Apple-style-span" style="color: red;">SUNDAY:</span></h2>
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">Pitching and selling book projects to editors over lunch in Manhattan dining clubs. If that’s your picture of a literary agent’s life, it’s time for a make-over. A radical make-over, in fact. </span><br />
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<span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">CHRISTOPHER KENEALLY's podcast <b>Beyond the Book</b> in which he interviews Jason Allen Ashlock, Co-founder and President of Moveable Type Management can be accessed here:</span></div>
<a href="http://beyondthebookcast.com/a-new-type-of-literary-agent/" target="_blank">http://beyondthebookcast.com/a-new-type-of-literary-agent/</a></div>
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-77752384905953675412013-05-01T10:30:00.000-07:002013-05-08T09:26:06.587-07:00May publishing deadlines<div class="separator" style="clear: both; text-align: center;">
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<span class="userContent"><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="Apple-style-span" style="line-height: 18px;"><b><span class="Apple-style-span" style="color: red; font-size: large;">SPARK</span></b><span class="Apple-style-span" style="color: #37404e; font-size: x-small;"> </span><span class="Apple-style-span" style="color: #37404e;">Magazine: </span></span></span></span>First things first. If you are interested in submitting you have to be quick. There are three themed issues of Spark – June, July and August 2013 – to submit to. The deadline is the same for all three, and close - 20th May 2013! <span class="userContent"><a href="http://rumjhumkbiswas.wordpress.com/2013/04/25/submit-to-spark-magazines-themed-issues/" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px; text-decoration: none;" target="_blank">http://rumjhumkbiswas.wordpress.com/2013/04/25/submit-to-spark-magazines-themed-issues/</a></span><br />
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<span class="Apple-style-span" style="color: red; font-size: large;"><b>SALT PUBLISHING</b></span></h3>
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<li style="font-size: 12px; margin-bottom: 6px;"><strong>“NORFOLK GOTHIC”.</strong> We are looking for dark fiction set explicitly in the English county of Norfolk. That is, works which centrally feature Norfolk settings and landscapes and which deal with the sinister side of human nature, containing elements of threat, menace, fear and death.</li>
<li style="font-size: 12px; margin-bottom: 6px;"><strong>LITERARY FICTION.</strong> We are looking for accessible, original, serious and compelling literary novels – though not experimental fiction.</li>
<li style="font-size: 12px; margin-bottom: 6px;"><strong>CRIME FICTION</strong> We are looking for sophisticated and original literary crime fiction; dark, fast-paced thrillers (especially those which feature both UK and continental European settings); traditional mainstream detective fiction and procedurals.</li>
<li style="font-size: 12px; margin-bottom: 6px;"><strong>FANTASY FICTION.</strong> We are looking for adult fantasy novels – science fiction, fantasy and horror, with an emphasis on the literary. These may include stark, post-apocalyptic settings; futureworlds; supernatural thrillers; paranormal adventure; monster fiction (especially with a profoundly literary and original take on species and identity); police states; new urban decadence, fin-de-siècle excess and political and social disorder.</li>
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<span class="Apple-style-span" style="font-family: 'Lucida Grande', 'Lucida Sans Unicode', Helvetica, Arial, Verdana, sans-serif; font-size: 12px;">UNFORTUNATELY they are not currently looking for short story or poetry manuscripts. </span><span class="Apple-style-span" style="color: black;"><a href="http://www.saltpublishing.com/info/proposals.htm" target="_blank">http://www.saltpublishing.com/info/proposals.htm</a></span><br />
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<span class="Apple-style-span" style="color: black;"><br /></span>A new literary journal to keep in mind: <b><span class="Apple-style-span" style="color: red; font-size: large;">CARTAGENA JOURNAL</span></b></div>
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Hey Everybody! Cartagena is a new journal open for submissions for our inaugural issue!<br />
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<span class="userContent"><span class="Apple-style-span" style="color: black; font-family: Georgia, 'Times New Roman', serif; font-size: 14px; line-height: 20px;">If it’s helpful, here are some writers we like: Sherman Alexie, Nelson Algren, Steve Almond, Aimee Bender, Jorge Luis Borges, Charles Bukowski, Robert Olen Butler, e.e. cummings, Jonathan Safran Foer, Knut Hamsun, Denis Johnson, James Joyce, Miranda July, Mary Karr, Cormac McCarthy, Henry Miller, Christopher Moore, Lorrie Moore, Pablo Neruda, Anais Nin, Michael Ondaatje, Carl Sandburg, William Saroyan, Jim Shepard, Shel Silverstein, Zadie Smith, Kevin Young. There are many many others and many we have yet to discover. Enlighten us.</span></span></div>
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<span class="userContent"><a href="http://cartagenajournal.com/" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; text-decoration: none;" target="_blank">http://cartagenajournal.com/</a></span></div>
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<span class="Apple-style-span" style="color: red; font-size: large;"><b>OLENTANGY REVIEW:</b></span></div>
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SHORT STORIES, TRAVEL PIECES, POEMS, ARTWORK/PHOTOGRAPHY.<br />
Call for submissions: Deadline 15th May. We are accepting poetry, short fiction, prose, essays and visual arts like cartoons, photography, graphic design and video. Email your submissions to<a href="mailto:submissions@olentangyreview.com"> <span class="Apple-style-span" style="color: #2a6e9d; font-family: Verdana; font-size: x-small;"><span class="Apple-style-span" style="line-height: 19px;">submissions@olentangyreview.com</span></span></a><span class="Apple-style-span" style="color: #333333; font-family: Verdana; font-size: x-small;"><span class="Apple-style-span" style="line-height: 19px;">.</span></span><br />
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James H. Duncan, tells us that the<br />
<span class="Apple-style-span" style="color: red; font-size: large;"><b>Hobo Camp Review </b></span><br />
is accepting submissions for their summer edition.<br />
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We like travelers, troubadours, and transients of all shapes and sizes, especially those who can spin a good yarn, one with a sense of vagrancy, dark yet jovial and humble in the most outlaw manner possible. While we like to envision Steinbeck, Li Po, McCullers, Bukowski, and Kerouac sitting around a campfire eating hot dogs and beans with a stray dog named Tom Waits wagging his tail at their feet, we don’t want a rehash. We’ve been eating hash here for months and we’re sick of it. Be original. Be honest. Be on the move. We like tales from the road, Beat-ish poems with a little sparkle and a little dust, and stories that sound good by the firelight with the train running somewhere in the distance, but that doesn’t mean that’s all we like. Try us, we’re an easy going lot. We like to laugh, but we’re just as apt to get all sentimental about home. Either way, it’ll be time to move on soon, so nothing too long. Get creative, get entertaining, and get talking.<br />
<span class="userContent"><a href="http://hobocampreview.blogspot.ie/p/submission-guidelines.html" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px; text-decoration: none;" target="_blank">http://hobocampreview.blogspot.ie/p/submission-guidelines.html</a></span><br />
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<span class="userContent"><b style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="Apple-style-span" style="color: red; font-size: large;">NOSTROVIA</span></b><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px;">! Deadline May 31st. POETRY - MICRO-CHAPBOOK CONTEST:</span></span></div>
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<span class="userContent"><br /><br /><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Nostrovia! Poetry and Miracle Ezine are seeking your poetry for this micro-chapbook contest. The winner is published in a Nano Poem Collection, and featured in an anthology consisting of the winner and 5 runner ups.<br /><br />Submission entry is free. I look forward to reading your work!</span><br /><br /><a href="http://www.nostroviatowriting.com/a-miracle-nano-poem-collection-anthology.html" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; text-decoration: none;" target="_blank">http://www.nostroviatowriting.com/a-miracle-nano-poem-collection-anthology.html</a></span><br />
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<span class="Apple-style-span" style="color: red; font-size: large;"><b><br /></b></span></div>
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<span class="Apple-style-span" style="color: red; font-size: large;"><b>Jacar Press –</b></span><span class="Apple-style-span" style="color: #37404e; font-size: 13px;"> 2
books and 1 anthology contest. Deadline 15th May.</span></div>
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<b>Some entry fees here so take a good look at the details attached</b>.</div>
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<a href="http://www.jacarpress.com/submit/">http://www.jacarpress.com/submit/</a><o:p></o:p></div>
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<span class="Apple-style-span" style="color: red; font-size: large;"><b>Southern Gothic</b></span><span class="Apple-style-span" style="color: #37404e; font-size: 13px;">. Deadline 31st May.</span></div>
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We are looking for Southern Gothic submissions to be considered for an upcoming e-thology. Send us the best you've got! Show us your version of Southern Gothic. Surprise us, delight us, make us scratch our head in consternation. And, most of all, tell us a fucking good story.<br />
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Please include a brief cover letter telling us a little about yourself, where you've published before, etc. But don't worry if this is your first time out: we still want to hear from you!<br />
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Stories should be 1,000 to 3,000 words. If you're not familiar with manuscript formats, consult William Shunn's excellent guide (http://www.shunn.net/format/story.html).<br />
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Art can be in any visual medium (photography, painting, drawing, digital, and beyond). If submitting a photo of a person, you must be able to provide a model release upon acceptance. Files should generally be a minimum of 1,000 pixels on its shortest edge and at least 300dpi.<br />
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Audio and video submissions are welcome as well. While these pieces may or may not appear in our final e-book anthology, we may publish them online as part of the anthology release.
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<a href="https://nlsp.submittable.com/submit">https://nlsp.submittable.com/submit</a><o:p></o:p></div>
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<span class="Apple-style-span" style="color: red; font-size: large;"><b>Weave </b></span></div>
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Poetry, Fiction, Non-Fiction, and Art. Deadline for submissions: May 31st.</div>
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Weave Magazine is dark humor and magical realism. Weave is strange and fantastical. Weave also loves realistic narratives in fiction and poetry. Weave loves honest and simple nonfiction, not confessional for confessions sake. Weave loves strong, well-developed characters. Weave especially loves dynamic female characters. Weave loves flawed characters. Weave loves retellings of old stories, fairy tales and myths. Weave loves when writers play with language. Weave loves a poem that grabs our attention early and avoids clichés. Weave loves surprises. Weave also loves poems about animals. We love a good monkey poem, but have yet to find one. On that day, Weave will dance.<br />
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<b><span class="Apple-style-span" style="color: red;">PIRENE'S FOUNTAIN</span></b>: Please read guidelines carefully to ensure a smooth submission process.<br />
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Submissions open May 1st for the October 2013 issue. Please send us poems involving anti-terrorism themes.<br />
<a href="http://www.pirenesfountain.com/submissions.html" target="_blank">http://www.pirenesfountain.com/submissions.html</a><br />
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<span class="Apple-style-span" style="color: red;">Magazines with flexible and rolling submission deadlines - so you can submit regularaly:</span></div>
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UTTER MAG<o:p></o:p></div>
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<a href="http://intranslation.brooklynrail.org/">http://intranslation.brooklynrail.org/</a><o:p></o:p></div>
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<b><span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;">extortianate</span></b><o:p></o:p></div>
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sundog lit – read all year round<o:p></o:p></div>
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<a href="http://sundoglit.com/submissions/">http://sundoglit.com/submissions/</a><o:p></o:p></div>
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<b><span class="Apple-style-span" style="font-size: large;">Subterranean Blue Poetry:</span></b></div>
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Looking for poetry and artwork:</div>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-_YJH3cLWavc/UYFOv_7LS9I/AAAAAAAAAoQ/coGSR9qKKjM/s1600/Screen+shot+2013-05-01+at+18.19.22.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="143" src="http://3.bp.blogspot.com/-_YJH3cLWavc/UYFOv_7LS9I/AAAAAAAAAoQ/coGSR9qKKjM/s200/Screen+shot+2013-05-01+at+18.19.22.png" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">P D Litz - 'Blue'</td></tr>
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<a href="http://www.subterraneanbluepoetry.com/SubterraneanBluePoetry.Submissions.htm">http://www.subterraneanbluepoetry.com/SubterraneanBluePoetry.Submissions.htm</a><o:p></o:p></div>
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<o:p><b><span class="Apple-style-span" style="font-size: large;">iARTistas</span></b></o:p></div>
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<a href="http://iartistas.wordpress.com/submissions/">http://iartistas.wordpress.com/submissions/</a><o:p></o:p></div>
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<b><span class="Apple-style-span" style="font-size: large;">District Literary Journal:</span></b></div>
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Art, Poetry and Prose: <span class="Apple-style-span" style="color: red;"><o:p></o:p></span></div>
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<a href="http://1.bp.blogspot.com/-g49FKRgdmw8/UYFQGE6HDvI/AAAAAAAAAog/o9Tr3tqSVTU/s1600/Screen+shot+2013-05-01+at+18.24.30.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://1.bp.blogspot.com/-g49FKRgdmw8/UYFQGE6HDvI/AAAAAAAAAog/o9Tr3tqSVTU/s200/Screen+shot+2013-05-01+at+18.24.30.png" width="198" /></a></div>
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<a href="http://districtlit.com/guidelines">http://districtlit.com/guidelines</a><o:p></o:p></div>
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<b><span class="Apple-style-span" style="font-size: large;">Number Eleven:</span><span class="Apple-style-span" style="font-size: x-small;"> </span></b><span class="Apple-style-span" style="color: black; font-family: Times; line-height: normal;"> a new online literary journal that publishes short stories, flash fiction, graphic novel artwork and illustrations. Number Eleven is published quarterly.</span></div>
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Description<br />
We are looking for new and interesting work. We like to read edgy and arresting prose, stories that have the ability to inspire and amaze us (by that we mean jealous that we didn't write them ourselves). We want to see illustrations and graphic novel artwork that makes us stop and think, artwork that challenges how we see things. If you can create that then we would like to publish it. Playing safe is not an option, we don't want to push boundaries, we want to remove them. Be bold, be brave, be yourself.<br />
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Submissions can be sent to numbereleveneditor@gmail.com. Please enter the word 'submission' and your own name in the subject field. Attach a bio as well (100 words or so, nothing epic) just so we know a little about you. We will endeavour to reply to your submission within 4 weeks (but if we don't then don't hate us). At present we are NOT accepting submissions of photography or poetry. Our word count for short stories is 4000 words (we are flexible though) and 800 words for flash fiction. If submitting flash fiction, please don't submit any more than two at a time.<br />
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Now get writing, create and share it with us. As Maya Angelou once said, “There is no greater agony than bearing an untold story inside you.” <br />
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Graham Connors, Editor
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<a href="https://www.facebook.com/pages/Number-Eleven-Magazine/325489734218928">https://www.facebook.com/pages/Number-Eleven-Magazine/325489734218928</a><o:p></o:p></div>
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<b><span class="Apple-style-span" style="color: red; font-size: large;">CRIMEWAVE</span></b> - are always open for submissions of</div>
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Photography for cover art work and</div>
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New modern crime and mystery short stories of up to 10,000 words in length.</div>
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<a href="http://ttapress.com/crimewave/guidelines/" target="_blank">http://ttapress.com/crimewave/guidelines/</a></div>
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<span class="Apple-style-span" style="font-family: Georgia; line-height: 24px;"><b><span class="Apple-style-span" style="color: red; font-size: large;">Rufous City Review </span></b></span><span class="Apple-style-span" style="font-family: Georgia; line-height: 24px;">accepts year-round submissions in original art, poetry, and poetic prose which surprises, unsettles, and excites. We want to experience writing that twists our expectations and reminds us what it means to be obsessed with language.</span>
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<a href="http://www.rufouscityreview.com/-the-fancy-submission-manager.html">http://www.rufouscityreview.com/-the-fancy-submission-manager.html</a><o:p></o:p></div>
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<b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">The Masters Review</span></b><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> </span><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;">– new voices:<o:p></o:p></span></span></div>
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<a href="http://www.mastersreview.com/new-voices/">http://www.mastersreview.com/new-voices/</a><o:p></o:p></div>
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<b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">Pithead chapel</span></b><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small;"><o:p></o:p></span></div>
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Ongoing submissions , but sometimes they close it when an
issue is about to appear. So check.<span class="Apple-style-span" style="color: red;"><o:p></o:p></span></div>
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<a href="http://pitheadchapel.com/submission-guidelines/">http://pitheadchapel.com/submission-guidelines/</a><o:p></o:p></div>
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<b><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif; font-size: large;">Ginosko Literary Journal</span></b></div>
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<a href="http://ginoskoliteraryjournal.com/guidelines.htm">http://ginoskoliteraryjournal.com/guidelines.htm</a></div>
Accepting short fiction & poetry, creative nonfiction, interviews, social justice concerns, spiritual insights. Editorial lead time 1-2 months; accept simultaneous submissions & reprints; length flexible, accept excerpts. Receives postal submissions & email—prefer email submissions as attachments in Microsoft Works Word Processor, Rich Text Format or Word. Copyright reverts to author. Read year-round. <br />
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<span class="Apple-style-span" style="color: red;"><span class="Apple-style-span" style="font-size: large;">Ahsahta Press </span></span></h3>
have instigated an opening reading month in May 2013 - so you can send until the 31st. There is a small fee of $5.<br />
<a href="https://ahsahtapress.org/secure/submissions/" target="_blank">https://ahsahtapress.org/secure/submissions/</a><br />
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<span class="Apple-style-span" style="color: red;"><br /></span>
<a href="http://4.bp.blogspot.com/-cwS-tDIkoq8/UYksr64DBiI/AAAAAAAAAqc/PRJ_LWvVk5k/s1600/Screen+shot+2013-05-07+at+17.29.24.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://4.bp.blogspot.com/-cwS-tDIkoq8/UYksr64DBiI/AAAAAAAAAqc/PRJ_LWvVk5k/s200/Screen+shot+2013-05-07+at+17.29.24.png" style="cursor: move;" width="139" /></a><span class="Apple-style-span" style="color: red;"></span><span class="Apple-style-span" style="color: red;"></span><br />
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<span class="Apple-style-span" style="color: red;"><span class="Apple-style-span" style="font-size: large;">Able Muse Press:</span></span></h3>
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<span class="Apple-style-span" style="color: red;"><br /></span>
Poetry and Fiction -<br />
open reading period from<br />
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May 1st until June 15th.<span class="Apple-style-span" style="color: red;"></span><br />
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<a href="http://www.ablemusepress.com/submit" target="_blank">http://www.ablemusepress.com/submit</a></div>
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<span class="Apple-style-span" style="color: red; font-size: large;">Augury Books</span></h3>
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POETRY and SHORT STORY COLLECTIONS - Reading fee of $10. but it is open until June 30th.</div>
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<span class="Apple-style-span" style="color: #444444; font-family: sans-serif; font-size: 15px;">Thanks for your interest in submitting to Augury Books, an independent New York City press committed to publishing innovative and diverse work from emerging and established writers. We are happy to be opening up our submissions to fiction and poetry this year, so send us your undoubtedly brilliant work and let us shower you with praise.</span></div>
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<span class="Apple-style-span" style="color: #444444; font-family: sans-serif; font-size: 15px;"><a href="https://augurybooks.submittable.com/submit" target="_blank">https://augurybooks.submittable.com/submit</a></span></div>
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-45321090792398961872013-04-28T05:14:00.000-07:002013-04-28T05:21:23.870-07:00Highly Recommended 28th April, 2013.<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="color: red; font-size: 24px; font-weight: bold;"><b>SUNDAY</b></span></div>
<h1 class="heading heading-style-i size-30" property="dc:title" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; color: black; font-family: 'Times New Roman', Times, serif; font-size: 30px; font: inherit; line-height: 33px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 7px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-rendering: optimizelegibility; vertical-align: baseline;">
<a href="http://1.bp.blogspot.com/-2pMtfs2__ko/UX0IUdxjWwI/AAAAAAAAAlo/QySqFV6ImgA/s1600/Screen+shot+2013-04-28+at+12.14.35.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-2pMtfs2__ko/UX0IUdxjWwI/AAAAAAAAAlo/QySqFV6ImgA/s320/Screen+shot+2013-04-28+at+12.14.35.png" width="242" /></a><b>Harper Lee</b><span class="Apple-style-span" style="font-weight: normal;"> Makes a Surprise Appearance at an Alabama Literary Luncheon</span></h1>
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The publicity-shy author of ‘To Kill a Mockingbird’ made a surprise appearance last week at the South Alabama Writers’ Symposium, which was honoring Fannie Flagg with the Harper Lee Award. </h2>
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Oh, and Harper Lee got one too!</h2>
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<a href="http://www.thedailybeast.com/articles/2012/05/03/harper-lee-made-a-surprise-appearance-last-week-at-an-alabama-literary-luncheon.html" target="_blank">http://www.thedailybeast.com/articles/2012/05/03/harper-lee-made-a-surprise-appearance-last-week-at-an-alabama-literary-luncheon.html</a><br />
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<span class="Apple-style-span" style="color: red;">MONDAY</span></h2>
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<span class="Apple-style-span" style="font-size: large;">Some magazines which you should know about here:<br /><span class="Apple-style-span" style="font-weight: normal;">“Literary” Literary Magazines</span></span><br />
<span class="Apple-style-span" style="color: #111111; font-family: Georgia; font-size: 16px; font-weight: normal; line-height: 26px;"><a href="http://www.tinhouse.com/magazine/submission-guidelines.html" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Tin House</a></span><span class="Apple-style-span" style="font-family: 'Times New Roman', Times, serif; font-size: 14px; font-weight: normal;"><span class="Apple-style-span" style="color: #111111; font-family: Georgia; font-size: 16px; line-height: 26px;"><div style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; font-family: Georgia; margin-bottom: 30px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">
<a href="http://www.crazyhorsejournal.org/page.php?id=113" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Crazy Horse</a><a href="http://www.bu.edu/agni/submit.html" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">AGNI</a><a href="http://bwr.ua.edu/?page_id=74" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Black Warrior Review</a><a href="http://www.glimmertrain.com/writguid1.html" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Glimmer Train</a><a href="http://www.one-story.com/index.php?page=guidelines" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">One Story</a><a href="http://www.newyorker.com/contact/contactus" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">The New Yorker</a><a href="http://www.threepennyreview.com/submissions.html" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">The Threepenny Review</a><a href="http://www.all-story.com/submissions.cgi" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Zoetrope: All-Story</a><a href="http://www.caketrain.org/submissions/" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Caketrain</a><a href="http://www.boulevardmagazine.org/projects.html" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Boulevard</a><a href="http://www.thesunmagazine.org/about/submission_guidelines/writing" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">The Sun Magazine</a><a href="http://www.mcsweeneys.net/pages/guidelines-for-quarterly-submissions" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">McSweeney’s Quarterly</a><a href="http://www.obscurajournal.com/guidelines.php" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Camera Obscura</a><a href="http://www.vqronline.org/submission/" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Virginia Quarterly</a><a href="http://www.theatlantic.com/faq/#manuscript" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">The Atlantic</a><a href="http://willowsprings.ewu.edu/submit.php" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Willow Springs</a><a href="http://whttp//www.granta.com/Submissions" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Granta </a></div>
<h2 style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; font-family: Helvetica, Arial; font-size: 26px; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">
Science Fiction / Fantasy / Horror Literary Magazines</h2>
<div style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; font-family: Georgia; margin-bottom: 30px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">
<a href="http://www.strangehorizons.com/guidelines/fiction.shtml" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Strange Horizons</a><a href="http://clarkesworldmagazine.com/submissions/" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Clarksworld</a><a href="http://www.sfsite.com/fsf/glines.htm" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Fantasy & Science Fiction Magazine</a><a href="http://apex-magazine.com/submission-guidelines" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Apex Magazine</a><a href="http://www.shimmerzine.com/" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Shimmer</a><a href="http://www.asimovs.com/info/guidelines.shtml" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Asimov’s Science Fiction</a><br />
<a href="http://dailysciencefiction.com/submit" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Daily Science Fiction</a><a href="http://www.intergalacticmedicineshow.com/cgi-bin/mag.cgi?do=content&article=submissions" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Orson Scott Card’s Intergalactic Medicine Show</a><a href="http://www.lightspeedmagazine.com/about/guidelines" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Lightspeed</a><br />
<a href="http://www.beneath-ceaseless-skies.com/submissions/" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Beneath Ceaseless Skies</a><a href="http://www.andromedaspaceways.com/submissions/the-details" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Andromeda Spaceway Inflight Magazine</a><a href="http://www.abyssapexzine.com/submissions" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Abyss and Apex</a><a href="http://www.ideomancer.com/?page_id=20" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Ideomancer</a><a href="http://www.analogsf.com/information/submissions.shtml" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Analog Science Fiction and Fact</a><a href="http://www.tor.com/page/submissions-guidelines" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Tor.com</a> (also horror)<br />
<a href="http://pseudopod.org/guidelines/" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Psuedopod</a> (audio stories!)</div>
<h2 style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; font-family: Helvetica, Arial; font-size: 26px; margin-bottom: 15px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">
Flash Fiction Magazines*</h2>
<div style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; font-family: Georgia; margin-bottom: 30px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">
<a href="http://dailysciencefiction.com/submit" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Daily Science Fiction</a><br />
<a href="http://www.vestalreview.net/Guidelines41.html" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Vestal Review</a><a href="http://www.wordriot.org/submissions" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Word Riot</a><a href="http://www.flashfictiononline.com/submit.html" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Flash Fiction Online</a><a href="http://smokelong.submittable.com/submit" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Smokelong Quarterly</a><a href="http://www.foundlingreview.com/FoundlingReviewWriters.html" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Foundling Review</a> (up to 2000 words)<br />
<a href="http://www.everydayfiction.com/submit-story/" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Every Day Fiction</a><a href="http://twenty20journal.submittable.com/submit" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Twenty20</a> (20 words or less)<br />
<a href="http://brevitymag.com/submissions/" style="border-bottom-style: none; border-color: initial; border-left-style: none; border-right-style: none; border-top-style: none; border-width: initial; color: #fa6900; font-family: Georgia; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; outline-color: initial; outline-style: none; outline-width: initial; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; text-decoration: none;">Brevity</a> (750 words or less)</div>
</span></span><span class="Apple-style-span" style="font-size: small;">Compiled by Joe Bunting - Joe's book on getting your short story published is available here: </span><span class="Apple-style-span" style="font-family: 'Times New Roman', Times, serif; font-size: 14px; font-weight: normal; line-height: 19px;"><a href="http://letswriteashortstory.com/literary-magazines/" target="_blank">http://letswriteashortstory.com/literary-magazines/</a></span></h1>
<h2>
<span class="Apple-style-span" style="color: red;"><b>TUESDAY</b></span></h2>
<div>
<b>Brand New Retro</b> is a site full of magazine images from Ireland from the 1960's to the 1990s. Thanks to Mick Timony for passing it on.</div>
<div>
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-kh1otZsRwvI/UX0L_cbH4pI/AAAAAAAAAmc/mwT8CEFRg0A/s1600/Screen+shot+2013-04-28+at+12.45.36.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="272" src="http://1.bp.blogspot.com/-kh1otZsRwvI/UX0L_cbH4pI/AAAAAAAAAmc/mwT8CEFRg0A/s640/Screen+shot+2013-04-28+at+12.45.36.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Suggs from Madness, outside Madigan's Pub Dublin in 1985, Phil Lynott on a trip home and … <br />
oh dear, Jimmy Saville in Dublin in the 1960's. </td></tr>
</tbody></table>
<div style="text-align: left;">
<span class="Apple-style-span" style="color: red;"><b><br /></b></span></div>
<a href="http://brandnewretro.ie/" target="_blank">http://brandnewretro.ie/</a><br />
<br />
<h2>
<span class="Apple-style-span" style="color: red;"><b>WEDNESDAY</b></span></h2>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-ypSYK-8B1kk/UX0OLMr4aeI/AAAAAAAAAms/u7hmOsYhX6A/s1600/Screen+shot+2013-04-28+at+12.54.47.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-ypSYK-8B1kk/UX0OLMr4aeI/AAAAAAAAAms/u7hmOsYhX6A/s320/Screen+shot+2013-04-28+at+12.54.47.png" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Top: Patrick Kavanagh, Mary Lavin,<br />
Bottom: Elizabeth Bowen, Liam O'Flaherty.</td></tr>
</tbody></table>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: 14px; line-height: 18px;"><b><br /></b></span></span>
<br />
<div style="text-align: left;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;"><b><span class="Apple-style-span" style="line-height: 18px;"><br /></span></b></span></div>
<h3>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;"><span class="Apple-style-span" style="line-height: 18px;">Previously unreleased recordings of </span></span></h3>
<h3>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;"><span class="Apple-style-span" style="line-height: 18px;">W B Yeats, George Bernard Shaw, </span></span></h3>
<h3>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;"><span class="Apple-style-span" style="line-height: 18px;">James Joyce, Mary Lavin, Patrick Kavanagh,</span></span></h3>
<h3>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;"><span class="Apple-style-span" style="line-height: 18px;">Frank O'Connor, </span><span class="Apple-style-span" style="line-height: 18px;">Elizabeth Bowen,</span><span class="Apple-style-span" style="line-height: 18px;"> </span></span></h3>
<h3>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;"><span class="Apple-style-span" style="line-height: 18px;">and other Irish poets and writers </span></span></h3>
<h3>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;"><span class="Apple-style-span" style="line-height: 18px;">are featured on a new three-CD set </span></span></h3>
<h3>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-weight: normal;"><span class="Apple-style-span" style="line-height: 18px;">released by the British Library and called</span></span></h3>
<h3>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><i>The Spoken Word: </i></span></span></h3>
<h3>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><i>Irish Poets and Writers – I Will Arise. </i><span class="Apple-style-span" style="font-weight: normal;"> </span></span></span></h3>
<div style="text-align: left;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 18px;"><b>Available here: <a href="http://shop.bl.uk/mall/productpage.cfm/BritishLibrary/_ISBN_9780712351263/-" style="font-size: x-small;" target="_blank">http://shop.bl.uk/mall/productpage.cfm/BritishLibrary/_ISBN_9780712351263/-</a></b></span></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: xx-small;"><span class="Apple-style-span" style="line-height: 18px;"><b><br /></b></span></span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b><span class="Apple-style-span" style="font-size: 14px; line-height: 18px;">The three-disc set is £20. and the full playlist is as follows: </span></b></span></div>
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<b>DISC ONE</b><br />
1. <b>Frank O’Connor,</b><br />
reads his translations of The Hermitage and Aengus the Spouse of God: The Downfall of Heathendom<br />
2.<b> W B Yeats</b>, Yeats talks about poetry and reads two of his own poems (The Lake Isle of Innisfree and The Fiddler of Dooney)<br />
3<b>. W B Yeats</b>, reads The Song of the Old Mother and introduces A Faery Song<br />
4.<b> W B Yeats, </b>National Lectures, No.18<br />
Yeats reads and discusses Paul Fort: The Pretty Maid [translated from the French], T S Eliot: Preludes [extract], Cecil Day Lewis: Two Songs, No.1<br />
5. <b>W B Yeats</b> and <b>V C Clinton-Baddeley</b>, In the Poet’s Pub<br />
Yeats sets the scene and actor Clinton-Baddeley reads a selection of poems chosen by Yeats<br />
6.<b> W B Yeats</b>, discusses the political background to two poems.<br />
7. <b>W B Yeats,</b> The Lake Isle of Innisfree along with an extract of Coole and Ballylee, 1931<br />
8. <b>Frank O’Connor</b> and <b>Sean O’Faolain, W B Yeats</b>: A Dublin Portrait<br />
9<b>. Patrick Kavanagh</b>, is interviewed about his work<br />
11. <b>Eavan Boland,</b> reads a selection of her work, The War Horse, Nocturne, The Black Lace Fan, Night Feed<br />
<br />
<b>DISC TWO</b><br />
1. <b>Bernard Shaw</b>, his talk on the English language<br />
2.<b> Bernard Shaw</b>, Address at British Drama League Conference, Edinburgh<br />
3. <b>Frank O’Connor</b>, reminisces about his only meeting with James Joyce<br />
4.<b> Sylvia Beach</b>, describes how James Joyce came to make his two surviving recordings<br />
5.<b> James Joyce</b>, read an extract from <i>Ulysses</i> pp136–137 and an extract from 'Anna Livia Plurabell' from <i>Finnegans Wake</i><br />
7. <b>Sean O’Casey</b>, - extract from a previously unheard interview. <br />
8. <b>Frank O’Connor</b>, reads extracts from his book Guests of the Nation<br />
9<b>. Brendan Behan</b>, sings the song The Auld Triangle from his play The Quare Fellow</div>
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<b>DISC THREE</b></div>
1. <b>Elizabeth Bowen</b> Frankly Speaking Date of broadcast: 16.03.1960<br />
2. <b>Mary Lavin</b> The Long Holidays Date of broadcast: 03.11.1967<br />
3. <b>Liam O’Flaherty</b> The Mermaid Date of recording: 12.02.1980<br />
4. <b>Edna O’Brien</b> Christmas Roses Date of broadcast: 17.08.1978<br />
5. <b>Seán Ó’Faoláin</b> The Human Thing Date of broadcast: 06.07.1967<br />
<br />
<h2>
<span class="Apple-style-span" style="color: red; font-size: large;">THURSDAY</span></h2>
<div style="margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<b>The Ink Slingers Creative Writing Hour</b> takes place every Saturday at the <b>Irish Writers’ Centre.</b> It is a free creative writing session that is organised and led by the Centre’s voluntary arts administrators.<br />
<br />
The hour includes writing exercises and prompts to get ideas flowing. It is open to everyone and is suitable for all levels of experience. The workshop will be given by Máire T. Robinson.<br />
<br />
This event is listed on a repeat basis, please contact the Irish Writers Centre to check that the event is running when you want to go – 01 8721302<span class="Apple-style-span" style="color: #333333; font-family: ff-meta-web-pro, sans-serif;"><span class="Apple-style-span" style="line-height: 24px;"> </span></span><a href="http://www.writerscentre.ie/" style="font-family: ff-meta-web-pro, sans-serif; font-size: 16px; font-style: normal; font-weight: 400; line-height: 24px;" target="_blank"><span class="Apple-style-span" style="color: blue;">http://www.writerscentre.ie/</span></a></div>
<div style="margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="font-family: 'Palatino Linotype', 'Book Antiqua', Palatino, serif;">Membership of the Irish Writer's Centre costs €50 (€25 for students), and as well as helping to keep the doors open, has a wide range of benefits.</span></div>
<div style="margin-bottom: 20px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
</div>
<div style="font-family: 'Palatino Linotype', 'Book Antiqua', Palatino, serif;">
<strong>Benefits of Membership</strong></div>
<ul style="font-family: 'Palatino Linotype', 'Book Antiqua', Palatino, serif;">
<li>Discounts on workshop fees and publishing days</li>
<li>Access to writing spaces to work during the day</li>
<li>Four PCs in the building are allocated for members use</li>
<li>Free WiFi throughout the building</li>
<li>Discount on entry to the Novel Fair and other competitions</li>
<li>Free admission to some readings that have a cover charge</li>
<li>Advance notice of events where the audience might be limited</li>
<li>A dedicated members' evening</li>
<li>Access to their collection of books and other archives</li>
</ul>
<br />
<h2>
<span class="Apple-style-span" style="color: red;">FRIDAY </span></h2>
<h2 style="text-align: center;">
<span class="Apple-style-span" style="color: #660000; font-size: small; font-weight: normal;"><b>Hearty congratulations to : </b></span></h2>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-WROBcdy8cKs/UX0KJnmNkuI/AAAAAAAAAmM/6h6lKmdhx34/s1600/Screen+shot+2013-04-28+at+12.37.28.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="263" src="http://4.bp.blogspot.com/-WROBcdy8cKs/UX0KJnmNkuI/AAAAAAAAAmM/6h6lKmdhx34/s400/Screen+shot+2013-04-28+at+12.37.28.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<div style="text-align: center;">
<b>John Banville</b> - for his award by the Austrian Government for his contribution to European Literature.</div>
<div style="text-align: center;">
<a href="http://www.thejournal.ie/john-banville-austria-prize-880791-Apr2013/" target="_blank">http://www.thejournal.ie/john-banville-austria-prize-880791-Apr2013/</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>and</b></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>Katia Kapovich</b> for winning the 2013 Russian Literature Award for Short Fiction.</div>
<div style="text-align: center;">
Here's an interview with Katia on the overlapping which occurs between poetry and prose. </div>
<div style="text-align: center;">
<a href="http://www.poetryinternationalweb.net/pi/site/cou_article/item/17633/Interview-with-Katia-Kapovich" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://www.poetryinternationalweb.net/pi/site/cou_article/item/17633/Interview-with-Katia-Kapovich</span></a></div>
<h2 style="text-align: left;">
<a href="http://4.bp.blogspot.com/-BS75BMImjSo/UX0ITseYHzI/AAAAAAAAAlU/pTBigCONw5w/s1600/Screen+shot+2013-04-28+at+12.15.18.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="297" src="http://4.bp.blogspot.com/-BS75BMImjSo/UX0ITseYHzI/AAAAAAAAAlU/pTBigCONw5w/s320/Screen+shot+2013-04-28+at+12.15.18.png" width="320" /></a><span class="Apple-style-span" style="color: red;">SATURDAY</span></h2>
<div style="text-align: center;">
<b>Barry Tebb </b>reads </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
'The Playhouse' </div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
and</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
'The Philosophers'</div>
<div style="text-align: center;">
<br /></div>
<div>
<div style="text-align: center;">
from his collection </div>
<div style="text-align: center;">
<i><b><br /></b></i></div>
<div style="text-align: center;">
<i><b><span class="Apple-style-span" style="font-size: large;">The Nostalgia Bus</span></b></i></div>
<div style="text-align: center;">
<b><i><br /></i></b></div>
<div>
<b><i><br /></i></b><a href="http://www.youtube.com/watch?v=4FJgl1a_oL8&feature=share" target="_blank">http://www.youtube.com/watch?v=4FJgl1a_oL8&feature=share</a><br />
<br />
<br />
<br />
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<br /></div>
</div>
Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-82848633786201196542013-04-21T06:59:00.003-07:002013-04-22T06:31:35.617-07:00Philip Nikolayev - Letters from Aldenderry<div class="MsoNormal" style="margin: 0cm 54pt 0pt 0cm;">
<b><br /></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="font-size: 14pt; mso-ansi-language: EN-IE;"></span></b>
<div class="separator" style="clear: both; text-align: center;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="font-size: 14pt; mso-ansi-language: EN-IE;"><a href="http://1.bp.blogspot.com/-Fqz831RcmZM/UXAfjf7qMZI/AAAAAAAAAkE/UUQLifNFRAU/s1600/Screen+shot+2013-04-18+at+17.28.53.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="http://1.bp.blogspot.com/-Fqz831RcmZM/UXAfjf7qMZI/AAAAAAAAAkE/UUQLifNFRAU/s400/Screen+shot+2013-04-18+at+17.28.53.png" width="256" /></a></span></b></div>
<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="font-size: 14pt; mso-ansi-language: EN-IE;"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin: 0cm 54pt 0pt 0cm;">
<h2>
<div style="text-align: center;">
<b><span class="Apple-style-span" style="color: blue; font-size: x-large;">Letters from Aldenderry</span></b></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="color: blue; font-size: large;"><br /></span></div>
<div style="text-align: center;">
<b><span class="Apple-style-span" style="color: blue;"><span class="Apple-style-span" style="font-size: large;"> </span><span class="Apple-style-span" style="font-size: small;">by</span></span></b></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-size: large;"><b><span class="Apple-style-span" style="color: blue;"><br /></span></b></span></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-size: large;"><b><span class="Apple-style-span" style="color: blue;">Philip Nikolayev</span></b></span></div>
</h2>
<br /></div>
<div align="center" class="MsoNormal" style="margin: 0cm 54pt 0pt 0cm; text-align: center;">
<b><i><br /></i></b><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-IE" style="mso-ansi-language: EN-IE;">Philip Nikolayev shows himself to be at once a master of the ‘natural’ conversation poem as well as of the most witty and ingenious ghazals, sonnets, quatrain poems, and other fixed forms… This is a truly exciting collection of lyrics, as surprising and varied as it is original.’ <o:p></o:p></span></i></b></div>
<div align="right" class="MsoNormal" style="margin: 0cm 54pt 0pt 36pt; text-align: right;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;">– Marjorie Perloff.<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin: 0cm 54pt 0pt 0cm;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;">Review: Ann Fallon.</span><br />
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><br /></span>
<div style="text-align: justify;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><i><b>Letters from Aldenderry</b></i> is Philip Nikolayev's fourth book of poetry and is, as you would expect from a poet with his publishing history, technically brilliant and confident. It is also emotionally complex and personal while exhibiting his engagement with a vast cultural background in references to people and places of the US, Russia, Europe, and India. </span><span lang="EN-IE" style="mso-ansi-language: EN-IE;">Containing ninty-nine poems it takes us from the flight of two 'eagles' down immediately into the world of the poet, opens us up to poems which flow easily like the best conversations, and engages us in questions of being, of art and of human frailty, until we finally exit the book from a vantage point above the seated poet, watching as he 'types a word or two and falls asleep'. </span><span lang="EN-IE" style="mso-ansi-language: EN-IE;"><o:p> </o:p></span></div>
<br />
<br />
<div style="text-align: justify;">
The book opens with the poem <b><i>Eagles</i></b>, a curtailed sonnet which offers a glimpse of something which appears at first to be a 'rare sight, lovely against the chalkboard sky' but which in line nine, becomes a disappointment and a distraction from an essay which he was reading.</div>
<div style="margin: 0px;">
<br />
<span class="Apple-style-span" style="color: #073763;"><b>Eagles</b><br /><br />Two eagles circled over Cambridge today,<br />a rare sight, lovely<br />against the chalkboard sky.<br />Drawn to stare, I soon noticed<br />that they went around in near perfect circles<br />at even speed.<br />In fact they looked exactly identical.<br />Their widespread wings didn’t so much as flutter.<br />I heard a thin electrical whiz<br />and wondered if they carried <br />tiny surveillance cameras on board <br />that could scan <br />“Shakespeare and the Pathos of Rambling” that I was reading.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
The final line is the longest and could very easily have been divided to complete the Petrarchan form which is indicated. That particular form, however, was significant for expressions of idealised or perfect love, and there is no room for perfection in Nikolayev's down to earth take on the world. The ideal of the two eagles is associated with a childhood promise, and appears in a 'chalkboard sky'. His growing awareness then recognises that they are not quite perfect and the trope comes when he hears the 'thin electrical whiz'. The disappointment of this changes to humour when he wonders if their 'cameras' might be capable of scanning the essay, and there is the suggestion that they, and their owners might benefit more from such surveillance. Given that the essay in question is from James Wood's <i>The Irresponsible Self </i> and that the philosophy of that book is dealt with later by Nikolayev in the poem <b><i>Revolution</i></b>, it is difficult not to concur with his laconic assessment here. </div>
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The conversational tone of <b><i>Eagles</i></b> is typical of the poems in the collection drawing us in and yet presenting in a very understated way the philosophical issues which life seems to offer. In The Art of Forgetting, the same easy confidential tone is used and draws attention to his own forgetfulness before examining the question of where attention should be paid. The poem therefore exemplifies his intimate awareness of the limitations of the human condition and he explores this theme by particularising it, by drawing us into the conversation and by allowing the universal predicament to be discovered in our own time.</div>
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<span class="Apple-style-span" style="color: #073763;"><b>The Art of Forgetting</b></span><br />
<span class="Apple-style-span" style="color: #073763;"><b><br /></b></span><span class="Apple-style-span" style="color: #073763;">Last night I cooked my socks in the microwave </span><br />
<span class="Apple-style-span" style="color: #073763;">by mistake. What to do when you’re so absent <br />minded? As well, I have frequently <br />refrigerated my poems in the freezer <br />to the point of having to thaw them later, <br />and poetry’s what’s emerges in defrosting. <br />I have also lost to nature generations <br />of galoshes, coats, scarves, umbrellas, <br />even once an Egyptian skullcap, <br />whose individual names I forget. <br />The name of the czar escapes my mind <br />on whom was meant to be my dissertation, <br />or was it thesis. Water,<br />all kinds of water under the all-purpose bridge. <br />If I’ve forgotten so much via absentmindedness mostly, <br />then how much have we forgotten as a species? <br />One day we learn, another forget <br />everything, including this fact. <br />It’s possible given enough time and effort <br />to forget anything, <br />which’s why we like to reminisce sometimes <br />on those even who’ve decided they don’t like us. <br />We’ll <em>fight</em> for our memories, the truth as it appeared once. <br />But to remember something we need to forget <br />something, a different truth. My grandmother <br />believed that if you dab any convenient spot on your body <br />with iodine daily <br />it will help you keep your memory in old age. <br />Head of the Marxism-Leninism chair <br />at the Ivanovo Energy Institute, <br />where she taught philosophy and scientific atheism, <br />she was the kindest soul, loved and spoiled me to distraction, <br />and her blueberry cakes were of course the best <br />in this world. Baptized as a child, <br />on her retirement to a small apartment in the Crimea <br />she read the Bible, perestroika raging all around. <br />Everyone wrote, thought and talked of <br />Stalin, Stalin, Stalin, Beria, Stalin. <br />She read the Bible, both the Testaments. <br />Thus dialectical materialism was forgotten <br />and an ancient faith recovered. <br />I too would like to forget a few things, <br />keep trying, but tend to forget instead <br />all the wrong ones, like submitting payments <br />by the due date, the need to tie my shoestrings. <br />Mnemosyne, and her daughters the Muses, <br />and her grandsons the museums … <br />Literature too is a museum, <br />as well as Lenin’s mausoleum, <br />which is essentially a tomb. <br />As you must of course know I’ve forgotten <br />the remote control on the bathroom sink <br />where my reflection in the crooked mirror <br />distracted me with its scowl. <br />This is earth life, but like hailing from outer space. <br />When my daughter was born, <br />I spent the night with her and my wife at the hospital <br />and went home the next day to clean the apartment. <br />I vacuumed the floor very thoroughly, <br />my thoughts soaring far and wide. Little did I notice <br />that the vacuum was running in blow out mode <br />so the condition of the floor changed <br />hardly at all. This still makes my wife laugh <br />and may indeed be worth remembering <br />against all death. While stress, duress and strain, <br />the painful neck crane <br />and other stuff rotten <br />are best forgotten.</span> </div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><br /></span><span lang="EN-IE" style="mso-ansi-language: EN-IE;">Reading through these poems it becomes obvious that Nikolayev is a poet's poet, taking delight in manipulating and changing established forms and even adding new ones. </span><b><i>Letters from Aldenderry</i></b> continues his subversion of form and language by showing his craftsmanship and then resolutely breaking the rules in the service of the particular poem under construction. In <b><i>Ideas,</i></b> for example, he runs the words together in a <i>scriptaura continua</i>, forcing the reader to work to recognise the English words and their development from the Latin mother tongue, just as the idea 'ofaprivatelanguage' is questioned along with 'whoputithere' and 'howdiditemerge'.<br />
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><br /></span><span lang="EN-IE" style="mso-ansi-language: EN-IE;">This idea of a private language is further confronted in his 'immured sonnets' where he uses the form </span>to address our ability to read another person or to translate thoughts and languages. It also questions such unconscious ideologies as whether we privilege reading from left to right, or from right to left. <b><i>Hymn,</i></b> a beautiful love poem to his wife, the poet Katia Kapovich, is a good example of the form. As in most of the immured sonnets in the collection the personal thoughts occur in bold type and are surrounded by the plain type of the more impersonal thoughts.<br />
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Coming across the form for the first time it is not immediately clear how to read it. During the course of the book the rules change, so that the reader is constantly being brought into challenging word plays and through these into more personal discoveries. John Kinsella describes his poetics as being 'in "cahoots" with a self-created idiomatic Russian-American English that, like Nabokov's adds to the possibilities of the word, of the line, of the overall form of expression in the text.' <br />
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His attitude towards innovation and subversion emerge from an examination of how he displays the rules of his craft before confidently breaking them in the service of the piece he is constructing. He opens the book with a curtailed sonnet, itself once a subversion of the sonnet and now accepted on its own terms. This links his innovation to past innovators, and just as Joyce referenced the past while 'making it new' for his generation, Nikolayev continues to reference the past while creating something new. In <i><b>Revolution</b></i>, he hints at the tightrope which must be walked between the populist call for<br />
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<span class="Apple-style-span" style="color: #073763;"><b> de de de de de duh</b></span><br />
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and the literary critics who demand<br />
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<span class="Apple-style-span" style="color: #073763;"><b>dramatiqually Duhfamilriazung </b></span><br />
<span class="Apple-style-span" style="color: #073763;"><b> Ourself zo </b></span><br />
<span class="Apple-style-span" style="color: #073763;"><b> that oui oui oui oui oui </b></span><br />
<span class="Apple-style-span" style="color: #073763;"><b> oui can no longer recognise Ourself </b></span><br />
<span class="Apple-style-span" style="color: #073763;"><b> cuz oui wanna escape from Ourself</b></span><br />
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Having established his poetic credentials he subverts the rules and breaks the forms. Peppered as his poems are with mention of philosophies and philosophers from Plato to his grandmother's knowledge of dialectical materialism, Nikolayev's 'broken forms' adds to the suggestion that he is rejecting Plato's 'ideal forms', and reflecting a more accurate portrait of the relentlessly fallible and broken human condition. His innovations and 'broken forms' become a philosophical reaction against the idea of perfection and are used in the service of art and ideas, rather than a reaction to established literary manifestos.<br />
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;">The central poem in the collection is instantly recognisable as a ghazal but the rules are broken in line with the ideas expressed. Normally a ghazal is a poem of rhyming couplets dealing with unattained love, melancholy or metaphysical questions and containing a reference to the poet in the final couplet. Here the reference to the poet/narrator occurs in the first couplet, so the poem is turned on its head. The strict rhyming scheme is broken in the fifth couplet just as the voice proclaims that it will not follow the rules. Looking in this kind of detail at how Nikolayev is breaking the poetic rules helps to provide an entry point for his personal aesthetic, which seems to tell us that the thoughts behind the poetic form will always take precedence. </span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">My name is Wormswurst, I give back to men their Zen.<o:p></o:p></span></b></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">I switch their here now with my there then.<o:p></o:p></span></b></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">Their stories of the past forgotten<o:p></o:p></span></b></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">Lay many generations protein,<o:p></o:p></span></b></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">But when our new spores come to life,<o:p></o:p></span></b></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">We sing them from within a hive.<o:p></o:p></span></b></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">We show a multitude of claws<o:p></o:p></span></b></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">And form a multitude of laws.<o:p></o:p></span></b></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">We see a world in groping mittens.<o:p></o:p></span></b></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">Will not obey! This music leads me,<o:p></o:p></span></b></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span class="Apple-style-span" style="color: #073763;">This music leads me, leads me where?</span><o:p></o:p></b></span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span class="Apple-style-span" style="color: #073763;">Oh how it leads me! I don’t care!</span><o:p></o:p></b></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;">The opening acknowledgement of his body as 'Wormswurst' or wormmeat gives the narrator an atemporal, aspatial point of view and alludes to <i>Hamlet</i>. This Shakespearean allusion continues in the final poem <b><i>Earth</i></b>, with its seven rhyming couplets. But the portrait drawn there of the 'diminished lot' could also be staged as a Beckettian drama. <b><i>Earth</i></b> is however a unique expression, <i>sui temporis</i>, from an important modern poet at ease with his own predicament and aware of his own craft and vocation and of the insignificance of life for all that. Like Beckett he decries our efforts to express something significant, and like Beckett does so in a way which elevates human expression to a beautiful art form. </span><br />
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<span lang="EN-IE" style="color: #073763; font-size: 14pt; mso-ansi-language: EN-IE;"><span style="color: #073763;"><b>Earth</b><o:p></o:p></span></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">But what to make of the diminished lot,<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">of what man could have got and yet has not?<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">But let him simply while away the day,<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">and soon this will not matter anyway.<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">Walking in vain across a cloudy sky,<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">he scans the grasslands with an acid eye,<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">like a slightly more modern Robert Frost.<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">But what of what man had yet somehow lost?<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">Staring at nature helps him to forget,<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">to come to terms, to cancel out the debt.<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">All night he whistled with a mockingbird<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">and now on his old keyboard types a word<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">or two into the world and falls asleep.<o:p></o:p></span></b></span></div>
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<span lang="EN-IE" style="color: #073763; mso-ansi-language: EN-IE;"><b><span style="color: #073763;">The land has willows, something needs to weep.<o:p></o:p></span></b></span></div>
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Nikolayev has translated Beckett's French poems into English and has run the SAMUEL BECKETT facebook page since 2009, gathering a unique collection of photographs, artistic portraits of Beckett and resources and bringing together almost twenty thousand Beckett fans worldwide. It is typical of his interest in art, culture and ideas and the high standards that he insists upon, that the page has become such an important resource for Beckett fans and scholars. </div>
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We are told consistently that to become better writers we must read more and there is no other book of poetry which could be better recommended for this purpose than <b><i>Letters from Aldenderry</i></b>. On top of this the personal engagement and intelligent companionship which it offers will make you feel that you are in Paris, or Moscow or Boston conversing with one of the most exciting writers of the century. </div>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-iJDVw0rzt-E/UXPO-3d7soI/AAAAAAAAAkk/qYUA4n6QfUM/s1600/Screen+shot+2013-04-21+at+12.34.37.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-iJDVw0rzt-E/UXPO-3d7soI/AAAAAAAAAkk/qYUA4n6QfUM/s320/Screen+shot+2013-04-21+at+12.34.37.png" width="229" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Philip Nikolayev. Photograph: Katia Kapovich</td></tr>
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Having relocated from Russia to the US in 1990 Nikolayev has first hand experience of the promise of new worlds and of that which is never entirely left behind. In a century of mass population movements, he becomes an important voice within this movement, transferring cultural insights both enriching and gaining from his new culture. Since his move to the US he has has written primarily in English and his poetry bears the hallmark of his hybrid identity. This is his fourth collection and it is one which both poets and the reading public will love. </div>
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It can be purchased from Amazon and directly from the Salt Publishing at:<br />
<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.saltpublishing.com/shop/proddetail.php?prod=1844712796" target="_blank">http://www.saltpublishing.com/shop/proddetail.php?prod=1844712796</a></span><br />
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He also runs the <b>Russian Poetry in Translation</b> fb page, providing access to the poetry of Russia to the English speaking world, ( <span class="Apple-style-span" style="font-size: x-small;">https://www.facebook.com/RussianPoetryInTranslation?fref=ts) </span><br />
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and the <b>SAMUEL BECKETT </b>fb<b> </b>page:<br />
<span class="Apple-style-span" style="font-size: x-small;">(<a href="https://www.facebook.com/pages/SAMUEL-BECKETT/51428148130?id=51428148130&sk=info" target="_blank">https://www.facebook.com/pages/SAMUEL-BECKETT/51428148130?id=51428148130&sk=info</a>)</span><br />
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Larissa Schmailo has also published a review of <i>Letters from Aldenderry</i> for <b>Jacket Magazine</b>, focussing on Nikolayev's playfulness with the English language: <a href="http://jacketmagazine.com/34/shmailo-nikolayev.shtml" target="_blank">http://jacketmagazine.com/34/shmailo-nikolayev.shtml</a></div>
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-67579965570678235192013-04-14T03:39:00.001-07:002013-04-16T06:47:32.667-07:00Highly Recommended 14th April. <b><span class="Apple-style-span" style="color: red; font-size: large;">Building New Audiences:</span></b><br />
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'How can poetry - a low-tech, slow-burn art form - survive in an increasingly high-speed digital age?' The question, and part of the answer comes from a recent publication from Dedalus Press. Together with <b>Roger Gregg</b> from the <b>Crazy Dog Audio Theatre</b>, they are attempting to bring poetry into the future by reclaiming some of its pre-literate origins, and by offering poetry performances and poetry cabaret.<br />
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<i><b>The Bee-Loud Glade: A living anthology of Irish poetry</b></i>, Edited and Introduced by Pat Boran includes a book of twenty-nine poems, nine of which are performed on an included cd. It opens the world of poetry up to new audiences, including younger audiences whose interest in the music and performance may be their first point of contact with the work of the modern poets included here.<br />
the musical styles are challenging becoming a vital element in the performance and ranging from easy-going jazz, to jazz improv., to cabaret. The strong Cork accent employed while reading Gerry Murphy's 'And she was beautiful and she was ferociously intelligent' was inspired and brought out the humour and desperate predicament of the poem. <br />
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Dedalus Press poets included are (<span class="Apple-style-span" style="font-size: x-small;">work from those underlined features on the CD</span>):<br />
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<b><u>Leland Bardwell, Pat Boran, Paddy Bushe</u>, Enda Coyle-Greene, Patrick Deeley, </b></div>
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<b>Theo Dorgan, Katherine Duffy, Gerard Fanning, Francis Harvey, </b></div>
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<b>Ann Joyce, Catherine Phil MacCarthy, Tom Mathews, <u>James J. McAuley,</u> </b></div>
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<b>Iggy McGovern, Mary Montague, <u>Gerry Murphy</u>, John O'Donnell, </b></div>
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<b><u>Mary O'Donoghue,</u> Paul Perry, Leeanne Quinn, Billy Ramsell, </b></div>
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<b>Gabriel Rosenstock, </b><b>Gerard Smyth, <u>Dolores Stewart</u>, Grace Wells, </b></div>
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<b>Joseph Woods, Macdara Woods, Enda Wyley.</b></div>
<a href="http://www.bee-loudglade.com/" target="_blank">http://www.bee-loudglade.com</a><br />
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<span class="Apple-style-span" style="color: red;"><b>Irish Pen</b></span> have also identified the area of Performance Poetry as one to be explored, and passed on a link which will allow poets to begin recording their work, or work of favourite poets. Listen to the recording here of '<i>Telephone</i>' by Wole Soyinka.<br />
<a href="https://soundcloud.com/tejucole/telephone-by-wole-soyinka-read" target="_blank">https://soundcloud.com/tejucole/telephone-by-wole-soyinka-read</a><br />
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If you would like to try recording the Poetry Foundation provide access here:<br />
<a href="https://soundcloud.com/poetryfoundation" target="_blank">https://soundcloud.com/poetryfoundation</a><br />
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I would recommend listening to performances before beginning your own, and bear in mind that a performance lends itself to one interpretation, rather than the multiple interpretations which a text allows. However, the possibilities of reaching new audiences are there and <b>Crazy Dog Audio Theatre </b>are excellent performers, as is <b>Eabha Rose,</b> whose reading of Sharon Frye's poem we featured recently (okay, the link is here: <a href="https://soundcloud.com/eabha-rose/prelude-voice-acquiver" target="_blank">https://soundcloud.com/eabha-rose/prelude-voice-acquiver</a> )<br />
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<span class="Apple-style-span" style="color: red;"><b>Roger Gregg</b></span> is also teaching at the Gaiety School of Acting, and has a great website with clips from his work and insights into making your own audio theatre. We will be taking a more in-depth look into his CD's and courses, next week.( <a href="http://crazydogaudiotheatre.com/news/a-look-at-acting-in-the-audio-medium-radio-dram-with-students-of-the-gaiety-school-of-acting/" target="_blank">http://crazydogaudiotheatre.com/</a>)<br />
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Next week in Washington there is a poetry reading from three leading poets:</div>
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Poetry reading featuring Yusef Komunyakaa, Paul Muldoon and John Koethe and organised by David C. Ward at</div>
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The Smithsonian Institute, 8th and F Streets, NW, Washington.</div>
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Sunday, 21st April at 14:00 </div>
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</style><!--StartFragment--><b><span class="Apple-style-span" style="font-size: large;">Yusef Komunyakaa</span></b><br />
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"He takes on the most complex moral issues, the most harrowing ugly subjects of our </div>
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American life. His voice, whether it embodies the specific experiences of a black man,</div>
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a soldier in Vietnam, or a child in Bogalusa, Louisiana, is universal. It shows us in</div>
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ever deeper ways what it is to be human."</div>
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- Toi Dericotte, for the Kenyon Review. </div>
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Born in Louisiana in 1947, Komunyakaa was raised during the beginning of the Civil Rights movement. He received wide recognition following the 1984 publication of Copacetic, a collection of poems built from colloquial speech which demonstrated his incorporation of jazz influences. He has published widely and received both the Pulitzer Prize and the Kingsley Tufts Poetry Award for Neon Vernacular: New & Selected Poems 1977-1989. Other awards include: the 2011Wallace Stevens Award; the Ruth Lilly Poetry Prize; the William Faulkner Prize from the Université de Rennes; the Thomas Forcade Award; the Hanes Poetry Prize, fellowships from the Fine Arts Work Center in Provincetown; the Louisiana Arts Council; and the National Endowment for the Arts. <br />
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He lives in New York City where he is currently Distinguished Senior Poet in New York University's graduate creative writing program. <br />
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<b><span class="Apple-style-span" style="font-size: large;">Paul Muldoon </span></b><br />
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"the most significant English-language poet born since the second World War." </div>
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- <i>The Times Literary Supplement</i> </div>
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Born in 1951 in Northern Ireland, since 1987 he has lived in the United States, where he is now Howard G. B. Clark '21 Professor at Princeton University. In 2007 he was appointed Poetry Editor of The New Yorker. Between 1999 and 2004 he was Professor of Poetry at the University of Oxford, where he is an honorary Fellow of Hertford College. </div>
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Paul Muldoon's main collections of poetry are New Weather (1973), Mules (1977), Why Brownlee Left (1980), Quoof (1983), Meeting The British (1987), Madoc: A Mystery (1990), The Annals of Chile (1994), Hay (1998), Poems 1968-1998 (2001), Moy Sand and Gravel (2002), Horse Latitudes (2006), and Maggot (2010). <br />
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A Fellow of the Royal Society of Literature, the American Academy of Arts and Sciences and the American Academy of Arts and Letters, Paul Muldoon was given an American Academy of Arts and Letters award in literature for 1996. Other recent awards are the 1994 T. S. Eliot Prize, the 1997 Irish Times Poetry Prize, the 2003 Pulitzer Prize, the 2003 Griffin International Prize for Excellence in Poetry, the 2004 American Ireland Fund Literary Award, the 2004 Shakespeare Prize, the 2005 Aspen Prize for Poetry, and the 2006 European Prize for Poetry. <br />
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<b><span class="Apple-style-span" style="font-size: large;">JOHN KOTHE </span></b><br />
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“one of our foremost Romantic poets, an inheritor of the tradition of Stevens and Ashbery.” </div>
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– Critic Andrew Yaphe </div>
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Koethe’s longer poems, occasionally formal or metered, show the influence of <a href="http://www.poetryfoundation.org/archive/poet.html?id=590">Elizabeth Bishop</a>, <a href="http://www.poetryfoundation.org/archive/poet.html?id=7549">William Wordsworth</a>, Marcel Proust, <a href="http://www.poetryfoundation.org/archive/poet.html?id=6621">Mark Strand</a>, and <a href="http://www.poetryfoundation.org/archive/poet.html?id=3809">Kenneth Koch</a>. He regards his poetry “as music and I think of it in terms of movements and sounds and the way it flows rather than content.” As critic Robert Hahn notes, “Koethe’s poetry is ultimately lyrical, and its claim on us comes not from philosophy’s dream of precision but from the common human dream that our lives make some kind of sense. What Koethe offers is not ideas but a weave of reflection, emotion, and music; what he creates is art—a bleak, harrowing art in all it chooses to confront, but one whose rituals and repetitions contain the hope of renewal.” <br />
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The author of several collections of poetry, including North Point North: New and Selected (2002), Ninety-fifth Street (2009), and ROTC Kills (2012), John Koethe also publishes and teaches philosophy, focusing on the philosophy of language. Koethe began writing poetry as an undergraduate at Princeton University and received his PhD from Harvard. </div>
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<span class="Apple-style-span" style="color: red; font-size: large;"><b><br /></b></span><span class="Apple-style-span" style="color: red; font-size: large;"><b>RECOMMENDED NEW AND SMALL PRESSES:</b></span><br />
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Carve Magazine - poefictiontry<br /><span class="Apple-style-span" style="font-weight: normal;">What is poefictiontry? To put it simply, it’s poetry that tells a story. Or maybe it’s flash fiction that sounds lyrical. <a href="http://carvezine.com/poefictiontry/#.UWnwso6hDzJ" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://carvezine.com/poefictiontry/#.UWnwso6hDzJ</span></a></span></h3>
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<span class="Apple-style-span" style="font-family: Times; line-height: normal;"><b><span class="Apple-style-span" style="font-size: large;">Fugue</span> </b></span><span class="Apple-style-span" style="font-size: small; font-weight: normal;">Annual writing contest (Poetry and Fiction). Deadline May 1st, 2013. </span></h3>
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Since 1990, Fugue has been promoting diverse literary voices of new and established writers. Past contributors have included: Steve Almond, Charles Baxter, Stephen Dobyns, Denise Duhamel, Stephen Dunn, Michael Martone, Campbell McGrath, W.S. Merwin, Sharon Olds, Jim Shepard, RT Smith, Virgil Suarez, Melanie Rae Thon, Natasha Trethewey, Anthony Varallo, Robert Wrigley, Dean Young, and B.H. Fairchild.</div>
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Fugue is made possible by funding from the University of Idaho's English Department and Creative Writing Program and is published semiannually winter/spring and summer/fall. </div>
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<b><span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.fuguejournal.org/Submit.html" target="_blank">http://www.fuguejournal.org/Submit.html</a></span></b></div>
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<b><span class="Apple-style-span" style="font-size: large;">Montucky Review</span></b> will look at Poetry and Prose. Submission guidelines here:<a href="http://montuckyreview.blogspot.ie/p/submissions.html" target="_blank">http://montuckyreview.blogspot.ie/p/submissions.html</a></div>
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-73743219547100054742013-04-07T06:11:00.000-07:002013-04-20T03:28:25.846-07:00Medbh McGuckian The High Caul Cap<a href="http://3.bp.blogspot.com/-wnRQi3vPWfo/UWFbktM9dQI/AAAAAAAAAic/j8BvXE79RHY/s1600/Screen+shot+2013-04-07+at+12.35.45.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="http://3.bp.blogspot.com/-wnRQi3vPWfo/UWFbktM9dQI/AAAAAAAAAic/j8BvXE79RHY/s400/Screen+shot+2013-04-07+at+12.35.45.png" width="256" /></a><br />
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<span class="Apple-style-span" style="color: #0c343d; font-size: x-large;">The High Caul Cap</span></h2>
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<span class="Apple-style-span" style="color: #0c343d; font-size: x-large;">Medbh McGuckian</span></h2>
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<b><span class="Apple-style-span" style="color: #0c343d;">Published by</span></b></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>Praising McGuckian’s <i>Selected Poems</i> (1997), </b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>Seamus Heaney said that</b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>“<i>Her language is like the inner lining of consciousness, the inner lining of English itself, and it moves amphibiously between the dreamlife and her actual domestic and historical experience as a woman in late-20th-century Ireland</i>.”</b></span><br />
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Reviewed by: Ann Fallon.</div>
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This latest collection from Medbh McGuckian contains fifty-four poems, the central one giving its title to the book. The High Caul Cap is both the name of a traditional Irish air and a symbol for the birth connection between mother and child. Here McGuckian invokes both meanings, offering the book as both a lament for the death of her mother and an acknowledgement of the connections which continue between the living and the dead, and between the living and the children just about to be born. The idea of continuity permeates each poem, from the very first title '<b><i><span class="Apple-style-span" style="color: #0c343d;">These Latinized Snows</span></i></b>', with its modern Americanised reference to a dead European mother tongue, to the last lines of the final poem which tells us that '<b><span class="Apple-style-span" style="color: #0c343d;"><i>across my face stripes the forever / tangible gaze of my late mother</i></span></b>'.<br />
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The imagery of the first poem immediately reminds one of Joyce's famous short story and of the snow which falls on the living and the dead. Here too the snow blankets the world of the living and the dead, and by 'slipping in the word 'eva', the word meaning life and associated with the first mother, McGuckian ignites<span class="Apple-style-span" style="color: red;"> </span>the juxtaposition between the past life of her mother, and their continued bonds. . McGuckian's snow, her period of mourning, then plays host to 'two savage arcs … flaming like weeds' and reaching out towards one another as the daughter reaches out for her dead mother and senses a reciprocal movement from beyond the grave. The two arcs of the daughter and deceased mother are mirrored then, and also connected, in the 'off-hour rainbowing' of the children who are just beginning on their life experience, and taking their first breaths. The liminal space between life and death is evoked in a slanted, 'Latinized' manner, non-linear and coded, but one which is better able to invoke the disappearance of times and spaces required for such a subject. This first poem is difficult but yields with re-reading and provides a key to the collection which follows. Words are transposed and switched, challenging our 'pre-set view[s]'.</div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>These Latinized Snows<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>This room should be read as a preface<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>to an experience which occurred<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>many miles before: light-of-day<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>simplicity in the administered space,<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>accepting the pre-set view,<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>though belts of country miles in width<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>have been swept away.<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>The electric fluid has taken to carrying<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>the mail, like a blood-opening heart buried under<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>a sundial, or the undiluted Nile.<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>By quietly slipping in the word ‘eva’ (‘only’),<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>those who delicately thread the needles<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>lay a motionless finger on a forearm<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>to show through this so-called non-blue<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>otherwise sheltering the dance the woman<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>is about to break into, wearing her belatedness<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>like a far grander blanket.<o:p></o:p></b></span></div>
</div>
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<span class="Apple-style-span" style="color: #0c343d;"><b><br /></b></span></div>
</div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>Long after other fireplaces have subsided<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>two savage arcs are flaming like weeds<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>in snow from end to end of your lovely,<o:p></o:p></b></span></div>
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<div style="margin: 0px;">
<span class="Apple-style-span" style="color: #0c343d;"><b>symbolic city where one day<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>marketgoers would again arrive by train …<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b><br /></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>As when a younger-sister-haunted older<o:p></o:p></b></span></div>
</div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>daughter finds in the messy street debris<o:p></o:p></b></span></div>
</div>
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<div style="margin: 0px;">
<span class="Apple-style-span" style="color: #0c343d;"><b>stretch marks on the trunk of an aspen,<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>etchings of beetles on the tree bark:<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>or when I photographed the births of my three<o:p></o:p></b></span></div>
</div>
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<div style="margin: 0px;">
<span class="Apple-style-span" style="color: #0c343d;"><b>children, each in their turn, I saw<o:p></o:p></b></span></div>
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<div style="margin: 0px;">
<span class="Apple-style-span" style="color: #0c343d;"><b>that with their first intake of breath<o:p></o:p></b></span></div>
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<div style="margin: 0px;">
<span class="Apple-style-span" style="color: #0c343d;"><b>their whole bodies were suffused<o:p></o:p></b></span></div>
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<div style="margin: 0px;">
<span class="Apple-style-span" style="color: #0c343d;"><b>with off-hour rainbowing, from head to toe.</b></span></div>
</div>
<br />
<br />
The dense, non-linear imagery continues and in the central poem evokes a longing and a melancholy but ends with a recognition of the hidden and continued presence of the sun as '<b>an immense red blossom'</b>. Red and white are traditionally the colours of flowers used at a funerals, but here the red is transmuted and although unnamed, its presence is significant. The<span class="Apple-style-span" style="color: red;"> </span>consciousness of the speaker here is infused with '<b><span class="Apple-style-span" style="color: #0c343d;">a vague / melancholy</span></b>' and her movement is slow '<b>like a broken / cricket</b>' but she none-the-less moves along, displaying life and agency against a background of '<b><span class="Apple-style-span" style="color: #0c343d;">lifeless houses'</span></b>. <br />
<br />
<!--StartFragment--><br />
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<span class="Apple-style-span" style="color: #0c343d;"><b>The High Caul Cap<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b><br /></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>The October rains set an all-time record:<o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span class="Apple-style-span" style="color: #0c343d;"><b>all arrivals and departures were in doubt;<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>the airlines were on strike, it seems, in honour<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>of the water; in raining mountains, bad, sweet smells.<o:p></o:p></b></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span class="Apple-style-span" style="color: #0c343d;"><b>Calm spiders in the morning rivers,<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>gusts of birds, melody of bells.<o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span class="Apple-style-span" style="color: #0c343d;"><b>When the heavens duly open<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>dead leaves explode underfoot.<o:p></o:p></b></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span class="Apple-style-span" style="color: #0c343d;"><b>This cold rain, from a cloud that had<o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span class="Apple-style-span" style="color: #0c343d;"><b>unaccountably overslept, overtakes us<o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span class="Apple-style-span" style="color: #0c343d;"><b>every afternoon like a vague<o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span class="Apple-style-span" style="color: #0c343d;"><b>melancholy from some other autumn.<o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span class="Apple-style-span" style="color: #0c343d;"><b>An immense red blossom, whose name<o:p></o:p></b></span></div>
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<span class="Apple-style-span" style="color: #0c343d;"><b>stops just in time, is the last candidate<o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span class="Apple-style-span" style="color: #0c343d;"><b>for light; she pulls herself along like a broken<o:p></o:p></b></span></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<span class="Apple-style-span" style="color: #0c343d;"><b>cricket, past the lifeless houses.</b></span><o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 36pt;">
<br /></div>
<br />
Directly following the intimation of hope here, comes the poem '<b>Sunburst in E Major</b>' and its placement signifies a change from the clouded sun of the previous poem. The traditional music of The High Caul Cap is written for the flute, the instrument of Apollo, and '<b>Sunburst</b>' seems to invoke and continue this aspect when it refers to '<b>The gods at this time of year [who]/ are partly about praying</b>.' The spirit or presence of her mother in this poem seems to call her daughter's attention back to the living world because it is '<b>in a walkable attire, / like an angel wearing lipstick, / heart not so heavy as mine</b>' and so the sunburst and the return to living by the grieving daughter is tentatively begun.<br />
<br />
The musical references of these central poems and pre-christian allusions throughout the book uncover the primal instincts which the death of a blood relative evokes. The cycles of birth and death are everywhere in this collection. There is the recognition of loss, but also a continued presence of the dead, of memories, of bonds which are not broken. <br />
<br />
Language itself performs this juxtaposition of continuity and discontinuity, giving or withholding its meaning as life itself seems to be given and withdrawn. The possibility or otherwise of communication through language continues therefore in this collection as it does throughout McGuckians work. It's inability to capture 'this so-called non-blue' world around where her memories, and the spirits of her dead, dance and leave their rainbow hues, is balanced with the occasional flashes of insight which we gain, and which grow through close attention to the structure of the collection underlying the free forms of different individual pieces.<br />
<br />
The opening reference to the snow therefore evokes a winter in which the earth is covered and sealed, but is not dead, is resting, or in recovery. The poems here are similarly covered, hard to read, but with patience the imagery and language will work their way to the surface of consciousness and will yield anew.<br />
<br />
<div>
<span class="Apple-style-span" style="color: #660000;"><br /></span></div>
<div>
<a href="http://1.bp.blogspot.com/-SyoFLoJvWkg/UWFbnvN3nzI/AAAAAAAAAio/cXnadNFGNcw/s1600/Screen+shot+2013-04-07+at+12.41.43.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-SyoFLoJvWkg/UWFbnvN3nzI/AAAAAAAAAio/cXnadNFGNcw/s1600/Screen+shot+2013-04-07+at+12.41.43.png" /></a><span class="Apple-style-span" style="color: #0c343d;">Medbh McGuckian was born in 1950 to Catholic parents in Belfast, Ireland. She studied with Seamus Heaney at Queen’s University, earning a BA and MA, and later returned as the university’s first female writer-in-residence. <br /><br />She has earned significant critical acclaim over the course of her career. Her poem “The Flitting,” published under a male pseudonym, won the 1979 National Poetry Competition. In 1980 McGuckian published two chapbooks of poetry and also won the prestigious Eric Gregory Award. Her first collection, The Flower Master(1982), won the Poetry Society’s Alice Hunt Bartlett Prize, the Rooney Prize for Irish Literature, and an award from the Ireland Arts Council. On Ballycastle Beach (1988) won the Cheltenham Award, and The Currach Requires No Harbours (2007) was short-listed for the Irish Times Poetry Now Award. <br /><br />Her honors also include the Bass Ireland Award for Literature, the Denis Devlin Award, and the American Ireland Fund’s Literary Award. She won the Forward Prize for Best Poem for “She Is in the Past, She Has This Grace.”<br /><br />She edited The Big Striped Golfing Umbrella: Poems by Young People from Northern Ireland (1985) and co-translated, with Eilean Ni Chuilleanain, the Irish poet Nuala Ni Dhomhnaill’s collection The Water Horse (1999). She is the author ofHorsepower Pass By! A Study of the Car in the Poetry of Seamus Heaney (1999), and the poetry collection My Love Has Fared Inland (2010).<br /><a href="http://www.poetryfoundation.org/bio/medbh-mcguckian" target="_blank">http://www.poetryfoundation.org/bio/medbh-mcguckian</a></span><br />
<div>
<span class="Apple-style-span" style="color: #660000;"><br /></span><span class="Apple-style-span" style="color: #0c343d;"><b><i>The High Caul Cap</i></b> can be purchased in many bookshops, from Amazon, and also from Gallery Press.</span><br />
<span class="Apple-style-span" style="color: #660000;"><a href="http://www.gallerypress.com/authors/m-to-n/medbh-mcguckian/" target="_blank">http://www.gallerypress.com/authors/m-to-n/medbh-mcguckian/</a></span><br />
<span class="Apple-style-span" style="color: #660000;"><br /></span></div>
</div>
Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-65815332472391414252013-04-06T18:00:00.000-07:002013-04-11T04:18:56.748-07:00Highly Recommended: 7th April, 2013.<a href="http://1.bp.blogspot.com/-OeMO3ODycBE/UWCXiLDjKcI/AAAAAAAAAhI/mGM6iWikjZo/s1600/Screen+shot+2013-04-06+at+12.58.57.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="http://1.bp.blogspot.com/-OeMO3ODycBE/UWCXiLDjKcI/AAAAAAAAAhI/mGM6iWikjZo/s1600/Screen+shot+2013-04-06+at+12.58.57.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-OeMO3ODycBE/UWCXiLDjKcI/AAAAAAAAAhI/mGM6iWikjZo/s320/Screen+shot+2013-04-06+at+12.58.57.png" width="214" /></a><br />
<span class="Apple-style-span" style="color: #990000; font-size: 24px; font-weight: bold;">Sunday:</span><br />
<h2>
<div style="text-align: center;">
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Strumpet City</div>
</div>
<div style="text-align: center;">
<div style="margin: 0px;">
James Plunkett</div>
</div>
</h2>
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<div style="margin: 0px;">
<br /></div>
</div>
<div style="margin: 0px;">
<div style="text-align: center;">
<b>James Plunkett's epic novel <i>Strumpet City</i> is the </b></div>
<div style="text-align: center;">
<b>Dublin: One City, One Book </b></div>
<div style="text-align: center;">
<b>for the month of April.</b></div>
</div>
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<div style="text-align: center;">
<br /></div>
</div>
<div style="margin: 0px;">
Gill and Macmillan have issued a new edition with an extensive Introduction by Fintan O'Toole. A link to part of this Introduction, which appeared in the <i>Irish Times</i> is provided below.</div>
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<br /></div>
<div style="margin: 0px;">
<i><b>Strumpet City</b></i> is also read by <b>Barry McGovern</b> on RTE every weekday, and can be listened to here:</div>
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<a href="http://www.rte.ie/radio1/book-on-one/" target="_blank">http://www.rte.ie/radio1/book-on-one/</a></div>
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<br /></div>
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<br /></div>
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<a href="http://2.bp.blogspot.com/-tPD7x8AAsPQ/UWASDD-ojQI/AAAAAAAAAg0/RxRbLjLGOiI/s1600/Screen+shot+2013-04-06+at+13.14.19.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-tPD7x8AAsPQ/UWASDD-ojQI/AAAAAAAAAg0/RxRbLjLGOiI/s320/Screen+shot+2013-04-06+at+13.14.19.png" style="cursor: move;" width="206" /></a></div>
</td></tr>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;"><div style="margin: 0px;">
James Plunkett author of <i>Strumpet City</i></div>
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" To say, … that James Plunkett’s Strumpet City , first published in 1969, is the greatest Irish historical novel is to risk damning it with faint praise. Ireland has no Walter Scott, no War and Peace . Plunkett may have learned from both, but he essentially had to invent the Irish epic for himself. To think of the most famous fictional depictions of Dublin is to be confronted with a brilliant minimalism: the tiny lives of Joyce’s Dubliners ; the single day of Ulysses . Strumpet City unfolds over seven years. It deals not with isolated lives but with the way in which large events connect the most disparate of people. It encompasses a wide sweep of city life, from the destitution of Rashers Tierney to the precarious existence of Hennessy, the solid, aspirant respectability of Fitz and Mary, the priestly life of Fathers Giffley and O’Connor, and the upper-class world of Yearling and the Bradshaws.</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
Strumpet City does have a relationship to Joyce’s Dubliners , a book that is an obvious influence on Plunkett’s fine short-story collection The Trusting and the Maimed . But Plunkett also moves beyond that influence. Joyce saw Dubliners as an anatomy of the city as “the centre of paralysis”. This might very well be a description of the city in the first part of Plunkett’s epic. But in Plunkett’s case the paralysis is convulsed by the shock of James Larkin’s arrival."</div>
<div style="margin: 0px;">
<br /></div>
<div style="margin: 0px;">
- <b>Fintan O'Toole,</b> extract from his <i>Introduction</i> to the new Gill and Macmillan <br />
edition of <i>Strumpet City. </i><br />
A more extended extract from the <i>Irish Times</i> piece on the novel is found here: <a href="http://www.irishtimes.com/culture/books/strumpet-city-the-impossible-irish-novel-1.1343043">http://www.irishtimes.com/culture/books/strumpet-city-the-impossible-irish-novel-1.1343043</a></div>
<div style="margin: 0px;">
<br /></div>
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<br /></div>
<h2>
<span class="Apple-style-span" style="color: #990000;">Monday:</span></h2>
2012 is now officially recognised as the Year of the MOOC. Massive Online Open Courses are offered on subjects as diverse as Computational Neuroscience from the University of Washington, to Business Ethics for the Real World from Santa Clara, to Observing and Analysing Performance in Sport at OpenLearning. The Seamus Heaney Lecture Series in St. Patrick's College opened with an excellent lecture by Professor Brian MacCraith on the future of education in the light of such profound changes and a podcast can be found here at the end of this brief report:<a href="http://www.spd.dcu.ie/site/news/ReportonLecture1of7thSeamusHeaneyLectureSeries.shtml" target="_blank">http://www.spd.dcu.ie/site/news/ReportonLecture1of7thSeamusHeaneyLectureSeries.shtml</a><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-HZOGosCiMrw/UWCoAxep0zI/AAAAAAAAAhc/AdnAOe8XxNA/s1600/Screen+shot+2013-04-06+at+23.55.36.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="287" src="http://2.bp.blogspot.com/-HZOGosCiMrw/UWCoAxep0zI/AAAAAAAAAhc/AdnAOe8XxNA/s400/Screen+shot+2013-04-06+at+23.55.36.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ruari Quinn, Minister for Education, Professor Brian MacCraith, Seamus Heaney and Dr. Tara Shine<br />
at the first of the Seamus Heaney Lectures in St. Patrick's College, DCU.</td></tr>
</tbody></table>
<br />
One of the many questions raised at the end of the lecture concerned what benefits there could be to larger colleges for offering these courses to such large numbers of people, for no financial gain. At present MOOC's offer a way of showcasing the particular areas of excellence within universities, and are also capable of identifying individuals around the world who excel in the courses, and of drawing in those students.<br />
<br />
However, despite the reports of huge numbers of students taking up the courses there is also an indication that many do not actually complete final exams. Reasons offered for non-completion range from bad course design, an over reliance on traditional lecture formats and poor reviewing of work by peers. Open Culture have circulated results from educational researcher Katy Jordan which indicates that the typical completion rate is below 10% of students.<br />
<a href="http://www.katyjordan.com/MOOCproject.html">Visualization of MOOC Completion Rates</a> . If you click the image above, you can see interactive data points for 27 courses.<span class="Apple-style-span" style="color: #414141; font-family: Georgia, 'Times New Roman', Times, serif; font-size: 14px; line-height: 21px;"><br /></span>Further information on why students drop out of these courses can be found here:<br />
<a href="http://www.openculture.com/2013/04/the_big_problem_for_moocs_visualized.html" target="_blank">http://www.openculture.com/2013/04/the_big_problem_for_moocs_visualized.html</a><br />
<br />
<h2>
<span class="Apple-style-span" style="color: #990000;"><b>Tuesday:</b></span></h2>
WORKS ON THE STREET<br />
Street Art or Graffiti? A report by Jonathan Jones of the <i>Guardian Newspaper</i> shows how 'deeply uncomfortable the cultural relationship between' London, a capital 'that happens to be best at improvisation, dirty realism, punk aesthetics and low art' and the 'hyper-organisation and culture superimposed by the Olympics, really was. (<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.guardian.co.uk/commentisfree/2012/jul/20/london-2012-olympics-graffiti-clampdown" target="_blank">http://www.guardian.co.uk/commentisfree/2012/jul/20/london-2012-olympics-graffiti-clampdown</a> )</span><br />
<b><br /></b>Officials in London went as far as banning known street artists from a specific radius of the centre of the games and yet, just a few months after the Olympics the owners of the building on which a Banksy mural was painted, seem to have had the mural removed and placed for sale at an art auction in Florida. The piece was subsequently withdrawn from sale at the 11th hour, but only following an extensive campaign for its return to the UK. <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-ZegU9wZ4sTs/UWCqPJBFBTI/AAAAAAAAAhk/U-mS7ywbfbI/s1600/Screen+shot+2013-04-07+at+00.05.02.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="247" src="http://1.bp.blogspot.com/-ZegU9wZ4sTs/UWCqPJBFBTI/AAAAAAAAAhk/U-mS7ywbfbI/s400/Screen+shot+2013-04-07+at+00.05.02.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">'Slave Labour' by Banksy. </td></tr>
</tbody></table>
<br />
<br />
'Slave Labour', which shows a young boy hunched over a sewing machine making Union Jack bunting, appeared on the wall in Wood Green, north London, last May, just before the Diamond Jubilee celebrations.<br />
<br />
It disappeared from the side of the Poundland store and was due to be auctioned thousands of miles away in Miami with Fine Art Auctions (FAA) expecting it to reach between $500,000 (£328,063) and $700,000 (£459,288).<br />
<br />
But Haringey Council said it had been told the sale was halted at the last minute, with no explanation given from the auction house. Haringey Council Leader Claire Kober said: "It's a true credit to the community that their campaigning appears to have helped to stop the sale of this artwork from going ahead.<br />
<br />
"We will continue to explore all options to bring back Banksy to the community where it belongs."The FAA website still featured the mural as lot six in its Modern, Contemporary and Street Art sale tonight.<br />
<div>
<br /></div>
<div>
At the heart of the debate is the question of ownership, of it's entitlements and its duties and the issues which John Rawls raises in his <i>Theory of Justice</i>. Does ownership of a building also confer responsibility towards the community, or are owners entitled to remove public works of art? Poundland, the building which 'Slave Labour' was painted seems to be an independent and definable space and yet it relies for its water and power system, workers and customers from the surrounding infrastructure and community. Such interaction with the wider infrastructure and community should confer responsibilities, such as not depleting the water supply, not causing the power supply to cut out, not endangering the health of its workers and customers. Surely it is a simple step from this kind of responsibility to one in which a site specific work of art, not commissioned by the owners but recognised as valuable to the community, is also protected for the community for which it was painted?</div>
<div>
If that community is extended, as this one seems to have been by the artist, to the community of slaves who work to produce goods for shops such as Poundland, then even the local community must recognise our wider responsibilities. You can see a report on the still unresolved matter from the <i>Telegraph</i> here:<br />
<br />
<a href="http://www.telegraph.co.uk/culture/art/artsales/9890341/Stolen-Banksy-Jubilee-mural-pulled-from-Florida-auction-after-council-pressure.html" target="_blank">http://www.telegraph.co.uk/culture/art/artsales/9890341/Stolen-Banksy-Jubilee-mural-pulled-from-Florida-auction-after-council-pressure.html</a><br />
<br />
<h2>
<b><span class="Apple-style-span" style="color: #990000;">WEDNESDAY:</span></b></h2>
<h2>
<a href="http://1.bp.blogspot.com/-ibJZvkhKrtY/UWC4DP331MI/AAAAAAAAAhs/Wjsz6ke6hb8/s1600/Screen+shot+2013-04-07+at+01.03.10.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/-ibJZvkhKrtY/UWC4DP331MI/AAAAAAAAAhs/Wjsz6ke6hb8/s1600/Screen+shot+2013-04-07+at+01.03.10.png" /></a></h2>
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<span class="Apple-style-span" style="color: #990000;"><br /></span></div>
Although there have been at least five collections of critical essays on J M Synge published since 2000 'it is striking how few single authored critical monographs there have been on his work'. In <b><i>Synge and the Making of Modern Irish Drama</i></b>, Anthony Roche draws on twenty-five years of engagement with Synge's plays to present ten chapters on the unfolding of a double narrative. The first argues the extent and ways in which John Millington Synge self-consciously undertook to become the founding playwright of an Irish national theatre. Synge's rapid development as a playwright is examined in relation to Yeats and Joyce. His love affair with Abbey Theatre actress Máire O'Neill (Molly Allgood) is treated in depth, both in terms of their troubled life together and the vibrant roles he wrote for her. The book's second narrative moves from Synge's historical time to the present day, to consider what subsequent Irish playwrights have made of his dramatic legacy. Samuel Beckett, asked by his biographer to name the dramatists whose plays had meant the most to him, uttered only the name of Synge in reply. This study also traces in illuminating detail the impact of Synge's revolutionary plays on a range of contemporary playwrights: Brian Friel, Stewart Parker, Marina Carr and Martin McDonagh, to examine how this influence and recent productions of Synge's work have enabled him to remain our contemporary. It will be of considerable interest to students of Irish drama both in Ireland and worldwide.</div>
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<a href="http://1.bp.blogspot.com/-ZvUMEYTIGU8/UWC4tH6yKaI/AAAAAAAAAh0/emRKQw8BV5M/s1600/Screen+shot+2013-04-07+at+01.03.31.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="200" src="http://1.bp.blogspot.com/-ZvUMEYTIGU8/UWC4tH6yKaI/AAAAAAAAAh0/emRKQw8BV5M/s200/Screen+shot+2013-04-07+at+01.03.31.png" width="132" /></a></div>
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AVAILABLE FROM BOOKSHOPS, AND FROM THE PUBLISHERS AT : <a href="http://www.carysfortpress.com/products/syngemodernirishdrama.htm" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://www.carysfortpress.com/products/syngemodernirishdrama.htm</span></a></div>
<div>
<br />
The programme for the <b>2013 Synge Summer School</b> is now available. Speakers include:<br />
<br />
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<b>Dermot Bolger; Rita Ann Higgins; Mark O'Rowe; </b></div>
<div style="text-align: center;">
<b>Marina Carr; Stuart Carolan; Declan Hughes; </b></div>
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<b>Deirdre Kinahan and; Owen MCafferty.</b></div>
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<b><br /></b></div>
The school will run from the 27th to the 30th June and the theme this year is Irish Dramatists in Conversation. Application forms for the school should be returned as early as possible and by the 16th June at the latest. There is a limited number of places still available.<br />
<br />
<a href="http://syngesummerschool.org/programme13.html" target="_blank">http://syngesummerschool.org/programme13.html</a><br />
<h2>
<span class="Apple-style-span" style="color: #990000;"><b>Thursday:</b></span></h2>
Poet, essayist, theorist, and scholar <b>Charles Bernstein</b> was born in New York City in 1950 and is a foundational member and leading practitioner of Language poetry. Educated at the Bronx High School of Science and at Harvard University, where he studied philosophy with Stanley Cavell and wrote his final thesis on Gertrude Stein and Ludwig Wittgenstein. In the mid-1970s he became active in the experimental poetry scenes in New York and San Francisco. Between 1978-1981, with fellow poet Bruce Andrews, he published L=A=N=G=U=A=G=E magazine, which became a forum for writing that blurred, confused, and denied the boundary between poetry and critical writing about poetry. His own poetic work explores the wide-ranging uses of language within diverse social contexts. His poetry combines the language of politics, popular culture, advertising, literary jargon, corporate-speak, and myriad others to show the ways in which language and culture are mutually constructive and interdependent. As Bernstein says in an interview with Bradford Senning: </div>
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<a href="http://2.bp.blogspot.com/-hx9DfBPeTYI/UWC8k5yejWI/AAAAAAAAAiA/R8g3_2EwGcE/s1600/Screen+shot+2013-04-07+at+01.23.11.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-hx9DfBPeTYI/UWC8k5yejWI/AAAAAAAAAiA/R8g3_2EwGcE/s320/Screen+shot+2013-04-07+at+01.23.11.png" width="256" /></a></div>
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“I want to engage the materials of the culture, derange them as they have deranged me, sound them out, as they sound me out.” </div>
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<br /></div>
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Bernstein’s writing is serious, engaging, and critical, while also being playful, irreverent and deeply humorous. He was elected a Fellow of the American Academy of Arts & Sciences in 2006. The following two articles give an indication of his work and the development of Language poetry. The first comes from the Parnassus Review, and the second from Rob McLennan. </div>
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<br /></div>
<div>
Words Fail Him: The Poetry of Charles Bernstein<a href="http://parnassusreview.com/archives/1534" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://parnassusreview.com/archives/1534</span></a><br />
<br />
Charles Bernstein, Recalculating</div>
<div>
<span class="Apple-style-span" style="color: #990000; font-size: x-small; font-weight: bold;"><a href="http://www.robmclennan.blogspot.ca/2013/04/charles-bernstein-recalculating.html#.UVrvB2jN_Vw.facebook" target="_blank">http://www.robmclennan.blogspot.ca/2013/04/charles-bernstein-recalculating.html#.UVrvB2jN_Vw.facebook</a></span></div>
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<h2>
<span class="Apple-style-span" style="color: #990000;"><br /></span></h2>
<h2>
<span class="Apple-style-span" style="color: #990000;">Friday:</span></h2>
Finally got a chance to listen to the entire CD from <b><i>Poetry Bus 4</i></b>. It's such a pleasure to have authors perform their work and I enjoyed each of the tracks. <b>James Yorkston'</b>s fiction piece <b><i>Woozy with Cider</i></b> was particularly good. A slight drawback was that the backing track occassionally competed a little with his soft voice, but the story itself was gripping and I listened to it all the more carefully for that. I think I had read <b>P C Vandall'</b>s poem <b><i>Watermelons in Winter</i></b>, and liked it in the reading and even more so when she read it here. <b>Fiona Bolger'</b>s <i><b>In and Out of Never Never Land </b></i>was particularly good and <b>Dimitra Xidous'</b>s <b><i>Sweetness is for the Bees</i></b> was beautifully performed.<br />
<br />
I loved the changing accents from Irish to English to American - and all of the variations on these and the combination of fiction, poetry and music seemed completely natural, probably due to some innate musical sense from editor Peadar O'Donoghue. The contributors to the Poetry Bus 4 CD are:<br />
<br />
<br />
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Afric McGlinchey<span style="mso-tab-count: 1;"> </span>Brendan Hickey.<span style="mso-tab-count: 1;"> </span>Dimitra Xidous<o:p></o:p></div>
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Fiona Bolger<span style="mso-tab-count: 1;"> </span>James Yorkston<span style="mso-tab-count: 1;"> </span>John Prior<o:p></o:p></div>
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Korliss Sewer<span style="mso-tab-count: 1;"> </span>Laura Moody<span style="mso-tab-count: 1;"> </span>Mike Alexander<o:p></o:p></div>
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PC Vandall<span style="mso-tab-count: 1;"> </span>Rachel Fox<span style="mso-tab-count: 1;"> </span>Stuart Wilde<o:p></o:p></div>
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<br /></div>
<div style="margin: 0px;">
Poetry Bus 5 is still accepting submissions so take a look at their group page and jump onboard.</div>
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<a href="https://www.facebook.com/groups/125558570802681/?fref=ts" target="_blank">https://www.facebook.com/groups/125558570802681/?fref=ts</a></div>
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<h2>
<span class="Apple-style-span" style="color: #990000;"><br /></span></h2>
<h2>
<b><span class="Apple-style-span" style="color: #990000;">Saturday:</span></b></h2>
<h3>
<b><span class="Apple-style-span" style="color: #20124d;">Some interesting magazines and pages this week:</span></b></h3>
<a href="http://3.bp.blogspot.com/-4g_Em9MFv18/UWCZxIYlT6I/AAAAAAAAAhM/YubrbhZcqRM/s1600/Screen+shot+2013-04-06+at+22.54.18.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="222" src="http://3.bp.blogspot.com/-4g_Em9MFv18/UWCZxIYlT6I/AAAAAAAAAhM/YubrbhZcqRM/s320/Screen+shot+2013-04-06+at+22.54.18.png" width="320" /></a><b><span class="Apple-style-span" style="color: red;">A New Ulster</span></b> is free to download here<br />
and features the work of<br />
<b>Amy Barry</b>, Neil Ellman, <b>Oonah V Joslin,</b> Michael Loughran, <b>David McLean</b>,<br />
Maire Morrissey-Cummins, Chris Murray,<br />
Felino A. Soriano, Rachel Sutcliffe,<br />
Rachael Stanley, Brigid Walshe<br />
and <b>Adrian Fox</b>.<br />
I took a quick look through this and particularly enjoyed Amy Barry's '<i>Causatum'</i> and Oonah v Joslin's <i>Love to the Power π. </i>The layout makes this particularly easy to read and while it is free to read online, print copies can also be purchased for £5. from the website.<br />
<a href="http://issuu.com/amosgreig/docs/anu_issue_7" target="_blank">http://issuu.com/amosgreig/docs/anu_issue_7</a><br />
<br />
<br />
<br />
<a href="http://2.bp.blogspot.com/-6OB2dLJzkZI/UV8LXeelbmI/AAAAAAAAAf8/M-GgZQs6vWo/s1600/Screen+shot+2013-04-05+at+18.35.00.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-6OB2dLJzkZI/UV8LXeelbmI/AAAAAAAAAf8/M-GgZQs6vWo/s320/Screen+shot+2013-04-05+at+18.35.00.png" width="227" /></a><b><span class="Apple-style-span" style="color: red;">PoetrySalzburg Review</span></b> is also published this week and features Poetry from:<br />
<br />
Ally Acker; Brian W. Aldiss; Sally Bayley; <b>Ronda Broatch;</b><br />
Nicholas Campbell; Scott Andrew Christensen; <b>David Cooke;</b><br />
Claire Crowther; John f. DeCarlo; <b>Darren C. Demaree</b>; Lenny Emmanuel; Blair Ewing; Kate Foley; Cristina Godoroja; Kevin Graham, David Greenslade; Matt Haw; <b>A. J. Huffman</b>; Antony Johae; Marian Kilcoyne; Ayala Kingsley; Irene McKinney; George Messo; Kobus Moolman; Daniel Thomas Moran; Abegail Morley; Caroline Natzler; William Oxley; <b>Bethany W. Pope</b>; David Romanda; Lesley Saunders; E. M. Schorb; Hilda Sheehan; Robert Sheppard; Pnina Shinebourne; D. Neil Simmers; Robert Vas Dias; Wynn Wheldon; Anne Harding Woodworth.<br />
<br />
<a href="http://www.poetrysalzburg.com/psr-no23.htm" target="_blank">http://www.poetrysalzburg.com/psr-no23.htm</a><br />
<br />
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<b><br /></b>
<b>RUSSIAN POETRY IN TRANSLATION</b><br />
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<a href="http://4.bp.blogspot.com/-UUqESaMYDHE/UWDDlYsFVDI/AAAAAAAAAiM/J_kSlmET9I0/s1600/Screen+shot+2013-04-07+at+01.52.54.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="226" src="http://4.bp.blogspot.com/-UUqESaMYDHE/UWDDlYsFVDI/AAAAAAAAAiM/J_kSlmET9I0/s320/Screen+shot+2013-04-07+at+01.52.54.png" width="320" /></a></div>
<br />
<b>Alexander Pushkin</b><br />
<br />
<b>I loved you, and perhaps that adoration<br />Has not yet died entirely in my heart;<br />But let it not be reason for vexation:<br />I would not wish to sadden you with that.<br />I loved you silently, and hopelessly,<br />First shy and then inflamed with jealous pain;<br />I loved so sincerely, selflessly,<br />As may God grant you might be loved again.</b><br />
<b>1829<br /><br />Translated by Philip Nikolayev</b></div>
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Given the standard of the translations which <b>Philip Nikolayev</b> has been producing over the last few months, I was not surprised to see that his new page <b>Russian Poetry in Translation</b> became instantly popular with over 350 followers in the first week. </div>
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<br /></div>
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The short poem above, by Alexander Pushkin will give you an indication of the kind of work you will find on Philip's page. It's such a boon to have translations of this standard available to the public. </div>
<br />
<b><a href="https://www.facebook.com/RussianPoetryInTranslation?fref=ts" target="_blank">https://www.facebook.com/RussianPoetryInTranslation?fref=ts</a></b></div>
<br /></div>
Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-52357835218724211452013-04-05T06:34:00.001-07:002013-04-08T09:57:38.548-07:00Submission deadlines for April:<!--[if gte mso 9]><xml>
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<b>If you are a publisher and would like to be included in the submissions calendar please leave a comment and contact details and we will get in touch. There is no charge for listing, but we will not list any magazines who charge extortionate rates for submissions.</b><br />
<b><br /></b><span class="Apple-style-span" style="color: red;"><b>AYRIS </b></span>literary and arts journal are looking for POETRY, PROSE, ARTWORK:<br />From April 1 to May 1, Ayris Online is accepting works that deal in new people, places, and paradigms for our September feature. All things new and dying welcome, no matter the medium. Please limit poetry to three (3) pieces per submission, visual art to two. 1000 word limit for prose.<br /><b><a href="https://ayris.submittable.com/submit" target="_blank">https://ayris.submittable.com/submit</a><br /></b></div>
<span class="Apple-style-span" style="color: red;"><b>Pithead Chapel</b></span> is a monthly online journal of short fiction and nonfiction. We’re currently seeking gutsy narratives up to 4,000 words, and are particularly interested in essays (personal, memoir, lyric, travel, experimental, etc.) that move. Please visit us at <a href="http://pitheadchapel.com/" target="_blank">http://pitheadchapel.com/</a> to learn more about us and our submission guidelines.<br />
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<span class="Apple-style-span" style="color: red;"><b>Writing Knights Press.</b></span><br />
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<span class="Apple-style-span" style="color: red;"><span class="Apple-style-span" style="color: black;">Poets: Submission deadline - 15th April.</span></span>Theme for this issue is 'Renewal'.<br />
"We all search for a way to find new facets of ourselves to somehow replace something we don't like. We want to change, show how you've made that effort!" <br />
<a href="http://writingknights.bravesites.com/submissions#squire" target="_blank">http://writingknights.bravesites.com/submissions#squire</a><br />
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<span class="Apple-style-span" style="-webkit-composition-fill-color: rgba(175, 192, 227, 0.230469); -webkit-composition-frame-color: rgba(77, 128, 180, 0.230469); -webkit-tap-highlight-color: rgba(26, 26, 26, 0.296875); -webkit-text-size-adjust: auto; color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: red;"><b>Poetry Now Awards</b></span> 2013: Call for Submissions deadline 10th April For both awards.<br /><br />The Irish Times Poetry Now Award is presented annually to the author of the best collection of poems in English published by an Irish poet in the previous year. Previous winners include Michael Longley, Seamus Heaney, Derek Mahon and Sinéad Morrissey. The award will be presented at Mountains to Sea dlr Book Festival on Saturday 7 of September.<br /><br />The S<span class="text_exposed_show" style="display: inline;">trong Shine Award is presented annually to the author of the best first collection of poems published by an Irish poet in the previous year. Previous winners of the Award include Nerys Williams, Dave Lordan, Peadar Ó hUallaigh and Grace Wells. The Award will be presented at Mountains to Sea dlr Book Festival on Sunday 8 of September at a reading by the four shortlisted nominees.<br /><br />The deadline of entry for both awards is 10 April at 12 noon. No late entries will be accepted.</span></span><span class="Apple-style-span" style="color: red;"><br /></span></div>
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<span class="Apple-style-span" style="color: red;"><b>Spartan lit –</b></span> Spartan considers literary prose submissions of two thousand words or less. Please read an issue before submitting. They accept simultaneous submissions, with the request that they are notified immediately if a piece is accepted for publication elsewhere.</div>
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<b><span class="Apple-style-span" style="color: red;">The Modern Greek Studies Association </span></b>are pleased to announce the 2013 <b>Constantinides Memorial</b> <b>Translation Prize Competition</b> for original, new translations into English of a literary work published in Modern Greek. A prize of $500 will be awarded for a piece of Modern Greek literature (poetry, prose, theatre) translated into English. We welcome work by scholars of Modern Greek and other fields and languages as well as creative writers, students, and anyone knowledgeable of Greek and English engaged in the work of translation.</div>
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Deadline 15<sup>th</sup> April <o:p></o:p></div>
<a href="http://mgsa.org/Prizes/Constant.html" target="_blank">http://mgsa.org/Prizes/Constant.html</a><br />
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<a href="http://2.bp.blogspot.com/-rbS7b1M2YtU/UV7JZCMxu-I/AAAAAAAAAeU/Kw58LZRMFcE/s1600/Screen+shot+2013-04-05+at+13.52.34.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="130" src="http://2.bp.blogspot.com/-rbS7b1M2YtU/UV7JZCMxu-I/AAAAAAAAAeU/Kw58LZRMFcE/s200/Screen+shot+2013-04-05+at+13.52.34.png" width="200" /></a><o:p><span class="Apple-style-span" style="color: red;"><b>World Nomads</b></span> are offering a t</o:p>ravel scholarship to </div>
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China for students or non-professional writers. </div>
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<b>Deadline 19th April:</b></div>
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<span class="Apple-style-span" style="font-size: x-small;"><a href="http://journals.worldnomads.com/scholarships/story/97633/China/Travel-Writing-Scholarship-2013-Beijing-China" target="_blank">http://journals.worldnomads.com/scholarships/story/97633/China/Travel-Writing-Scholarship-2013-Beijing-China</a></span></div>
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<a href="http://4.bp.blogspot.com/-7Cfm-WaKTt4/UV7KcQljjuI/AAAAAAAAAeg/daeOgV9dans/s1600/Screen+shot+2013-04-05+at+13.57.32.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="107" src="http://4.bp.blogspot.com/-7Cfm-WaKTt4/UV7KcQljjuI/AAAAAAAAAeg/daeOgV9dans/s200/Screen+shot+2013-04-05+at+13.57.32.png" width="200" /></a></div>
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<b><span class="Apple-style-span" style="color: red;">Poetry on the Lake</span> are running their annual</b></div>
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<b>International Poetry Competition.</b></div>
Theme: 'Metal' (any reference from Gold to Goldilocks, from tins to leaden skies)<br />
Adjudicators: Anne-Marie Fyfe (Open); Imtiaz Dharker (Short); Kevin Bailey (Formal)<br />
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<b>Deadline 22nd April. <a href="http://www.poetryonthelake.org/page2.php" target="_blank"> http://www.poetryonthelake.org/page2.php</a></b></div>
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<span class="Apple-style-span" style="color: red;"><b>Smithereens Press</b></span> is a new Dublin based press, looking for submissions. Kevin Keating says that 'Smithereens Press endeavours to produce chapbooks of the highest quality of various forms of poetry.</div>
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<b>'<a href="http://smithereenspress.blog.com/submissions/" target="_blank">http://smithereenspress.blog.com/submissions/</a></b><br />
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<span class="Apple-style-span" style="color: red;"><b>SkyPen</b></span> - a new cloud venture by Blackstaff Press - are running a Flash Fiction Competition for April. Details here: <a href="http://www.skypen.co.uk/groups/writing-competitions/forum/topic/skypen-flash-fiction-competition-for-april/" target="_blank">http://www.skypen.co.uk/groups/writing-competitions/forum/topic/skypen-flash-fiction-competition-for-april/</a><br />
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<span class="Apple-style-span" style="color: red;"><b>SkyPen</b></span> is the new community forum of Blackstaff Press, developed with the goal of motivating writing across the island of Ireland (North, South, East and West) and to provide a central hub for groups of like minded people to create, discuss and enjoy books and literature. You do not need to be a writer to use the forum so feel free to simply read and enjoy the browsing experience or take part in whatever discussions interest you. Take a look at their site here: <a href="http://www.skypen.co.uk/about-us/" target="_blank">http://www.skypen.co.uk/about-us/</a><br />
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<span class="Apple-style-span" style="font-size: x-small;">Please note that SkyPen is not a formal submissions forum for Blackstaff Press. If you would like more information on making a formal submission, Stuart has created a blog post with information on submitting work to a publisher and you can also find information on the Blackstaff Press website here: <a href="http://www.blackstaffpress.com/Default.aspx?ResourcePath=Submissions" target="_blank">http://www.blackstaffpress.com/Default.aspx?ResourcePath=Submissions</a></span><br />
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<b><span class="Apple-style-span" style="color: red;">A Minor</span></b> magazine are currently reading submissions for their Third Anniversary Issue. </div>
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<b>Short Fiction/Prose; Flash Fiction/Prose; Poetry; Mixed-genre; Artwork.</b></div>
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<b>Deadline for submissions: April 29.</b> Include a 50-word, third person author/artist bio. Longer bios will be subject to editing.<br />
<a href="http://aminormagazine.com/about/" target="_blank">http://aminormagazine.com/about/</a><br />
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<span class="Apple-style-span" style="color: red;"><b>Sundog Lit</b></span> seeks to publish active, vibrant, earth-scorching literature.<br />
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<a href="http://2.bp.blogspot.com/-9dNKgvggh7o/UV7NxsAZ9JI/AAAAAAAAAes/bxlJjngf7Pc/s1600/Screen+shot+2013-04-05+at+14.12.12.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="66" src="http://2.bp.blogspot.com/-9dNKgvggh7o/UV7NxsAZ9JI/AAAAAAAAAes/bxlJjngf7Pc/s200/Screen+shot+2013-04-05+at+14.12.12.png" width="200" /></a>We want literary fiction, flash fiction, creative nonfiction, poetry, and hybrid stuff (we love hybrid stuff). Check out the first issue. See what we like.
<a href="http://sundoglit.com/submissions/" target="_blank">http://sundoglit.com/submissions/</a>
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<span class="Apple-style-span" style="color: blue;"><b>SUBTERRANEAN BLUE</b></span></div>
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<span class="Apple-style-span" style="color: blue;"><b><a href="http://2.bp.blogspot.com/-05pXDw1BSpQ/UV7PIhjLwBI/AAAAAAAAAe0/kizTrTtvu3s/s1600/Screen+shot+2013-04-05+at+14.16.47.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="http://2.bp.blogspot.com/-05pXDw1BSpQ/UV7PIhjLwBI/AAAAAAAAAe0/kizTrTtvu3s/s200/Screen+shot+2013-04-05+at+14.16.47.png" width="144" /></a></b></span></div>
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are looking for Poetry and Art.<o:p></o:p></div>
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Send a brief biography and three poems </div>
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or a photograph of your artwork.</div>
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No entry fee.</div>
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Take a look at their current issue: </div>
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<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.subterraneanbluepoetry.com/SubterraneanBluePoetry.Submissions.htm" target="_blank">http://www.subterraneanbluepoetry.com/SubterraneanBluePoetry.Submissions.htm </a></span></div>
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<b><span class="Apple-style-span" style="color: red;">Iartisas</span></b>, ezine.</div>
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Rolling submissions. </div>
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Traditional and eye poetry - poetry designed for the eye and not just the ear. </div>
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<a href="http://iartistas.wordpress.com/submissions/" target="_blank">http://iartistas.wordpress.com/submissions/</a><br />
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<o:p>Thumbnail Magazine commission fiction and reviews </o:p></div>
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<o:p>but also accept, on a rolling basis,</o:p></div>
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<o:p>unsolicited Art/Craft Essays (on very short fiction); </o:p></div>
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<o:p>Flash Fiction; </o:p></div>
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<o:p>Interviews and; </o:p></div>
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<o:p>Reviews.</o:p></div>
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<a href="https://thumbnailmag.submittable.com/submit/3476" target="_blank">https://thumbnailmag.submittable.com/submit/3476</a><br />
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<o:p>One of the most up-to-date literary magazines around:</o:p><br />
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<o:p>Accepting Poetry, Flash Fiction, Reviews, Artwork,</o:p><br />
<o:p>and Spoken Word.</o:p><br />
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<o:p><span class="Apple-style-span" style="color: red;"><b>Poetry Bus</b></span>. Captained by Peadar O'Donoghue.</o:p><br />
<o:p>Deadline is April - but check the fb group page for more details:</o:p><br />
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<span class="userContent"><span class="Apple-style-span" style="color: red;"><b>THE CITY FOX:</b></span></span></div>
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<span class="userContent">CALL FOR SUBMISSIONS - Poetry, Prose, Artwork:<br />We are now open to submissions for Issue one: ‘Bones’ <b>until April 30th.</b><br />Please read our guidelines carefully before submitting any work to us.<br />All submissions to be sent via email to thecityfoxsubmissions@outlook.com<br /><br />Our angle with ‘Bones’ is really down to your interpretation.<br />Read our ‘About’ and ‘Submit’ sections to get an idea of what we’re looking for.<br /><br /><a href="http://thecityfox.wordpress.com/2013/04/04/call-for-submissions-to-the-city-fox/" rel="nofollow nofollow" style="color: #3b5998; cursor: pointer; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px; text-decoration: none;" target="_blank">http://<wbr></wbr><span class="word_break" style="display: inline-block;"></span>thecityfox.wordpress.com/2013/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>04/04/<wbr></wbr><span class="word_break" style="display: inline-block;"></span>call-for-submissions-to-the-cit<wbr></wbr><span class="word_break" style="display: inline-block;"></span>y-fox/</a></span><br />
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<span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: red;"><b>The Wonderbook</b></span></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"> is currently seeing</span><br />
<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">POETRY, MUSIC. and ARTWORK (particularly self portraits)</span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><br /></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">and right now we are particularly looking for self-portraits, in pictures or poetry or music</span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><br /></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><a href="http://wonderbookofpoetry.org/" target="_blank">http://wonderbookofpoetry.org/</a></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">Join up at the site and/or send a submission to KitKelen@umac.mo</span></div>
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<span class="Apple-style-span" style="color: red;"><b>Poetica Magazine:</b></span><br />
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Poetry / Prose / Short Stories.<br />
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'Poetica publish original-unpublished works by Jewish and non-Jewish writers alike. [They] are interested in works that have the courage to acknowledge, challenge, and celebrate modern Jewish life, beyond distinctions of secular and sacred. </div>
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[They] like accessible works that find fresh meaning in old traditions that recognize the challenges of our generation. [They] evaluate works on several levels, including its skillful use of craft; its ability to hold interest; and layers of meaning.<br />
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Please submit 1-3 poems/prose to the poetry editor, Michal Mahgerefteh. <br />
<a href="mailto:michalpoetryeditor@poeticamagazine.com">michalpoetryeditor@poeticamagazine.com</a> <br />
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Please submit one (1) short story (1500) to the short story editor, Joanne Jagoda. <br />
<a href="mailto:jagodastoryeditor@poeticamagazine.com">jagodastoryeditor@poeticamagazine.com</a> <a href="http://www.poeticamagazine.com/submit.htm" target="_blank">http://www.poeticamagazine.com/submit.htm</a><br />
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<span class="Apple-style-span" style="color: red;"><b>EMERALD COAST REVIEW</b></span><br />
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<a ajaxify="https://www.facebook.com/photo.php?fbid=10200346996630875&set=o.35517751475&type=1&relevant_count=1&ref=nf&src=https%3A%2F%2Ffbcdn-sphotos-b-a.akamaihd.net%2Fhphotos-ak-prn1%2F17795_10200346996630875_1626419158_n.jpg&size=477%2C733&theater" class="uiPhotoThumb photoRedesignAspect" data-ft="{"type":41,"tn":"E"}" href="https://www.facebook.com/photo.php?fbid=10200346996630875&set=o.35517751475&type=1&relevant_count=1&ref=nf" rel="theater" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; clear: left; color: #3b5998; cursor: pointer; display: block; float: left; margin-bottom: 1em; margin-right: 1em; position: relative; text-decoration: none;"><img alt="Pensacola's own Emerald Coast Review -- the best literary journal around -- and it's published by WFLF. Deadline is May 1 for your short stories, poetry, art work, photos. Go to www.wflf.org for submission guidelines" class="img" height="200" src="https://fbcdn-sphotos-b-a.akamaihd.net/hphotos-ak-prn1/s480x480/17795_10200346996630875_1626419158_n.jpg" style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; display: block; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; max-width: none;" width="129" /></a>Pensacola's own Emerald Coast Review -<br />
literary journal published by WFLF.<br />
Deadline is May 1 for your<br />
<b><br /></b>
<b>short stories, poetry, art work, photos.</b><br />
<br />
<br />
Go to <a href="http://www.wflf.org/" target="_blank">www.wflf.org</a> for submission guidelines<br />
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-21603534891464609382013-03-30T19:01:00.000-07:002013-03-30T19:08:22.830-07:00Highly Recommended 31st March, 2013.<h2>
<span class="Apple-style-span" style="color: red;"><b>Saturday: </b></span></h2>
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<span class="Apple-style-span"><b><span style="color: black;">A fascinating look at the ironic and the un ironic in Ashbery and Creeley. - by Andrew Field from </span><a href="http://www.thethepoetry.com/"><span style="color: black;">www.thethepoetry.com</span></a></b></span></h2>
'What do Ashbery and Creeley share besides a certain kind of disappointment, a disillusionment with what Richard Rorty calls “the way things hang together”? For, aside from this initial bewilderment or despair at the way things are – ontologically, epistemologically – Creeley is the poet of the anti-flow, the inept and inert stutter, the desperation of someone who cannot say what he wants to say, so makes a poem out of that.' <br />
<a href="http://www.thethepoetry.com/2013/01/the-ironic-and-the-un-ironic-the-role-of-the-hero-in-ashbery-and-creeley/" target="_blank">http://www.thethepoetry.com/2013/01the-ironic-and-the-un-ironic-the-role-of-the-hero-in-ashbery-and-creeley/</a><br />
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<span class="Apple-style-span" style="color: red;"><b>Sunday</b></span></h2>
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<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">We've always known that stories, aphorisms and parables are more effective methods of communicaton. This short article explains the science behind the power of the story.</span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"></span><br />
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<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">'When you listen to a PowerPoint presentation, ... two parts of the brain are engaged.... These are simply language processing areas of the brain where words are turned into meaning but nothing else. </span><br />
However when we are being told a story not only are these centers of the brain being activated but also the areas of the brain associated with experiencing the events of the story's events come to life too.<br />
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For example if the story involves an action such as kicking or running, the motor centre of our brains will light up. .... But there's more ... Scientists have also found that story telling plants emotions, thoughts and ideas in the listener. In studies at Princeton University, the brain activity of a woman telling a story and her listeners were monitored and as she told her story her listeners brain activity went into sync with hers.<br />
<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><a href="http://writerswrite1.wordpress.com/2013/03/27/how-writing-affects-your-brain/" rel="nofollow nofollow" style="cursor: pointer; text-decoration: none;" target="_blank">http://writerswrite1.wordpress.com/2013/03/27/how-writing-affects-your-brain/</a></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><br /></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><br /></span><br />
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<span style="color: red;">MONDAY</span></h2>
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<a href="http://3.bp.blogspot.com/-MoxEmz2aRew/UVV_MlWX7EI/AAAAAAAAAd0/Ttx4IrWBNos/s1600/Screen+shot+2013-03-29+at+11.46.08.png" imageanchor="1" style="clear: left; cssfloat: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="168" src="http://3.bp.blogspot.com/-MoxEmz2aRew/UVV_MlWX7EI/AAAAAAAAAd0/Ttx4IrWBNos/s400/Screen+shot+2013-03-29+at+11.46.08.png" width="400" /></a></div>
<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="line-height: 18px;"><strong>Twentieth Century Russian Poetry in Translation:</strong></span></span></span><br />
<strong><br /></strong><span style="color: #333333; font-family: Tahoma;"><strong>Poets and Translators:<br />Philip Nikolayev, Katia Kapovich, Irina Mashinski, Dana Golin, Alexander Cigale, Andrey Gritsman, Larissa Shmailo</strong></span><br />
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HOST Andrey Gristman.<br />
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<img class="img" height="16" src="https://fbstatic-a.akamaihd.net/rsrc.php/v2/yJ/r/UmLbGfwEuH6.png" title="When" width="16" /></div>
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<span class="fsl"><a ajaxify="/ajax/calendar/day_box.php?day=1365663600&invites_link=0&action_source=2" href="https://www.facebook.com/events/calendar/2013/April/11" rel="dialog" role="button">Thursday, April 11, 2013</a></span></div>
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<span class="lfloat fsl fcg"><span class="fcb"><span title="3:00pm in your time">6:00pm</span></span> until <span class="fcb"><span title="5:00pm in your time">8:00pm in EDT full details:</span></span></span></div>
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</span></span></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><a href="https://www.facebook.com/events/579275735425672/" target="_blank">https://www.facebook.com/events/579275735425672/</a></span> <span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif;"></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span>
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<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 18px;">And here is a sample from russian poet Denis Novikov translated by Philip Nikolayev.</span></span></div>
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<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;"><br /><span class="text_exposed_show" style="display: inline;">Let’s Go, Let’s Take the Shortest Route</span><br /><span class="text_exposed_show" style="display: inline;">Let’s go, let’s take the shortest route,<br />I know a shortcut here,<br />to get some bread, smokes, beer,<br />fruit soup, what not.<br /><br />And on the way we’ll share our life<br />stories, naming within that frame<br />bright guardian angels of our strife<br />with opaque demons of our shame.<br /><br />Let’s hear the festive ocarina<br />sing, weep and perish, too-doo-loo,<br />no, not for a line of cocaine,<br />nor for a pint of heady brew.<br /><br />It sings, fixed with a chain of metal<br />to a high hopeful reverie,<br />dilating like a burning prairie<br />within the widely narrowed pupil.<br /><br />Let’s go. We’ve never been. The basket<br />of years floats by like numbered dreams<br />churned by Vlad Lenin’s damaged brains<br />inside his labradorite casket.<br /><br />Dark clouds remain God’s secret lodge,<br />and in Red Square the earth’s become<br />a wall by oneiric logic<br />and all completely dark with time.<br /><br />Let’s go then, us, let’s take the shortcut,<br />following the expiring sunrays,<br />our intellectual walk amusement<br />for the patrols of mounted sailors.</span><br /><br /><span class="text_exposed_show" style="display: inline;">Twentieth Century Russian Poetry will be published by Big Bridge Press :<a href="http://www.bigbridge.org/BB16/bbpress.htm">http://www.bigbridge.org/BB16/bbpress.htm</a></span></span></span>
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<br /><span style="color: red;">TUESDAY</span></h2>
<span class="Apple-style-span" style="color: black; font-family: Times, "Times New Roman", serif; line-height: 18px;"><strong>At the moment the search engine used for UNZ.ORG is a little unsophisticated. You need to know exactly what you are looking for. However, it does</strong></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: black; font-family: 'Times New Roman', Times, Helvetica, 'MS Sans Serif', sans-serif; font-size: 19px; line-height: normal;"><span style="font-family: Times, "Times New Roman", serif; font-size: small;"><strong> provide an extensive free library of written content to everyone on the Internet, eventually containing a comprehensive collection of high-quality books and periodical issues.</strong></span>Since all this content is intended to be permanently and transparently available, students, academics, and journalists may freely use this valuable content, perhaps producing additional writings hyperlinked to these important source materials. This content is provided, in part, for purposes such as criticism, comment, news reporting, teaching, scholarship, and research.<br /><br />A written index for a book or a periodical is merely the precursor of a search-engine; a footnote in a book or article is merely the precursor of a hyperlink. This web site might ultimately allow an unlimited amount of previously produced written content to be easily enhanced with these new capabilities.<br /><a href="http://www.unz.org/Home/Introduction" target="_blank">http://www.unz.org/Home/Introduction</a></span></span><br />
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<span style="color: red;">WEDNESDAY</span></h2>
<span class="Apple-style-span" style="color: #37404e; font-family: Times, "Times New Roman", serif; font-size: large; line-height: 18px;"><strong>IRISH WRITERS: </strong></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><strong><span style="font-family: Times, "Times New Roman", serif; font-size: large;">The Irish Writers Centre is hosting a publishing day</span></strong> - </span><br />
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<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><a href="http://www.writerscentre.ie/html/events/publishingdayapril.html" target="_blank">http://www.writerscentre.ie/html/events/publishingdayapril.html</a></span><br />
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<span class="Apple-style-span" style="color: #37404e; font-family: Georgia, 'Times New Roman', serif; line-height: 18px;"><span class="Apple-style-span" style="color: black; line-height: normal;">with: </span></span><br />
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<span class="Apple-style-span" style="color: #37404e; font-family: Georgia, 'Times New Roman', serif; line-height: 18px;"><span class="Apple-style-span" style="color: black; line-height: normal;">LITERARY AGENT: Sheila Crowley (Nominated as Agent of the Year 2013 )</span></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">AUTHOR:<a href="http://www.belindamckeon.com/about" style="color: black; text-decoration: none;"> Belinda McKeon</a></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">DIGITAL EXPERT: Eoin Purcell</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">PUBLISHER: Brendan Barrington</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">BOOK SCOUT and JOURNALIST: Sin<span class="mainbody" style="color: black; font-style: normal; text-align: justify;">é</span>ad Gleeson</span><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: 'Palatino Linotype', 'Book Antiqua', Palatino, serif;"><span class="Apple-style-span" style="font-size: 14px;"><span class="Apple-style-span" style="font-weight: 800;"><br /></span></span></span></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">Irish writers centre:</span><br />
<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">http://www.writerscentre.ie/html/events/publishingdayapril.html</span><br />
<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><br /></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><span class="Apple-style-span" style="color: black; font-family: 'Palatino Linotype', 'Book Antiqua', Palatino, serif; font-size: small; line-height: normal;"><table align="center" border="0" cellpadding="0" cellspacing="0" style="width: 98%px;"><tbody>
<tr><td colspan="2" height="21"><span class="courseheadbold" style="color: black; font-family: 'Palatino Linotype', 'Book Antiqua', Palatino, serif; font-size: 14px; font-weight: bold; text-align: left;">Saturday April 6th: 11am - 4.30pm</span></td></tr>
<tr><td class="mainbody" colspan="2" height="111" style="color: black; font-family: 'Palatino Linotype', 'Book Antiqua', Palatino, serif; font-size: 14px; font-style: normal; font-weight: normal; text-align: justify;">The Irish Writers' Centre is hosting an exciting information day <em>From Novice to Novelist</em> on all things publishing. The day features talks from industry experts and offers the opportunity to pose questions to the speakers. Novelist Belinda McKeon; literary agent with Curtis Brown, Sheila Crowley; publisher Brendan Barrington and digital expert Eoin Purcell will give the inside track on their role within publishing, what they look for from an author, changing trends in the industry here and in the UK, the importance of having something new/different to offer and how to sustain a writing life. Registration is at 10.30am, talks start at 11.00am and run until 4.30pm. Tickets are €60 (€50 for Members) and can be booked by paying online (paypal below) or calling the Centre on 01-8721302.</td></tr>
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<br /><span style="color: red;">THURSDAY </span> </h2>
<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;">Online Poetry workshops with Kim Addonizio.</span><br />
<span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><a href="http://www.kimaddonizio.com/Site/Site/workshops.html" target="_blank">http://www.kimaddonizio.com/Site/Site/workshops.html</a></span><br />
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<a href="http://4.bp.blogspot.com/-3b1TAtHRLP4/UVWBwmZ2lPI/AAAAAAAAAeE/4HQK2T34IFs/s1600/Screen+shot+2013-03-29+at+11.57.25.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="262" src="http://4.bp.blogspot.com/-3b1TAtHRLP4/UVWBwmZ2lPI/AAAAAAAAAeE/4HQK2T34IFs/s320/Screen+shot+2013-03-29+at+11.57.25.png" width="320" /></a></div>
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<br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style="color: red;">FRIDAY</span><br />I knOw yoU an exhibition showcasing a new generation of some 40 young European artists will open at IMMA on 19 April at Earlsfort Terrace. This article on the exhibition looks at what it means to be European. <span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: x-small;"><span class="Apple-style-span" style="line-height: 18px;"><br /></span></span><span class="Apple-style-span" style="color: #37404e; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 18px;"><a href="http://www.goethe.de/ins/ie/dub/ver/en10715771v.htm" target="_blank">http://www.goethe.de/ins/ie/dub/ver/en10715771v.htm</a></span></h2>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-ub6lz3-e_gc/UVWA1ViAX2I/AAAAAAAAAd8/GB2aol202-k/s1600/Screen+shot+2013-03-29+at+11.53.33.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="http://2.bp.blogspot.com/-ub6lz3-e_gc/UVWA1ViAX2I/AAAAAAAAAd8/GB2aol202-k/s320/Screen+shot+2013-03-29+at+11.53.33.png" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Barry Flanagan <i>The Drummer </i>at IMMA</td></tr>
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-91821117643072790142013-03-27T18:43:00.000-07:002013-03-27T18:44:16.488-07:00Samuel Beckett Krapp's Last Tape <br />
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<a href="http://3.bp.blogspot.com/-C-7Z9ytCl3M/UVOBBaHHxJI/AAAAAAAAAdc/S-RAulsIZsM/s1600/Screen+shot+2013-03-27+at+23.29.44.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="307" src="http://3.bp.blogspot.com/-C-7Z9ytCl3M/UVOBBaHHxJI/AAAAAAAAAdc/S-RAulsIZsM/s320/Screen+shot+2013-03-27+at+23.29.44.png" width="320" /></a></div>
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<span class="Apple-style-span" style="color: #660000;">Samuel Beckett's</span></h2>
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<span class="Apple-style-span" style="color: #660000; font-size: x-large;"> Krapp's Last Tape</span></h2>
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<span class="Apple-style-span" style="color: #660000;">Cast: John Hurt</span></h2>
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<span class="Apple-style-span" style="color: #660000; font-size: small;">Director: Michael Colgan</span></h2>
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<span class="Apple-style-span" style="color: #660000; font-size: small;">Gate Theatre, Dublin. </span></h2>
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<b><i>Krapp's Last Tape</i></b> was written by Beckett in English, for the Northern Irish actor Patrick McGee and was first performed in London in 1958 under the direction of Donald McWhinnie. The play contains many of the elements of Beckett's 'art of failure': a body in decline and suffering; the replay and re-evaluation of memories; loneliness, the sense of immanent darkness; eloquent silences and a mind/body dualism. </div>
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When he wrote it he described it as 'a play for one actor' and did not mention the tape recorder and Hugh Kenner tells us that at this stage he had never actually seen a reel to reel tape recorder but that the 'rumour was sufficient'. Early critics were very taken by the way in which Beckett developed the monologue by means of the recently invented machine, and how he recognised its potential to correct and recall memories. This device allowed him to present three distinct versions of the one character, the older sixty-nine year old Krapp whom we see on stage, the recorded voice of the younger thirty-nine year old Krapp and the allusions of both of these to their younger twenty-seven to twenty-nine year old self, whom they both deride - '<i><b>Hard to believe I ever was that young whelp! Jesus.</b></i>'</div>
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The eleven page play lasts for just under an hour, indicating the importance of the silences in Beckett's work. The recordings of the younger man, and his mature reactions to them, are not simply there to 'bail out the silences'. In <i>Krapp's Last Tape</i> the accuracy of the machine's recordings are contrasted with Krapp's inability to remember the profound events of his life and so the voice from the machine holds significance and seems to bring about an awareness in the older man. Of course he tries to resist the awareness by drinking and by cursing '<b><i>the stupid bastard I took myself for thirty years ago</i></b>' but the silences indicate that perhaps he does not resist it completely. The ambiguity of the phrase '<b><i>Ah well, maybe he was right (</i>pause<i>) maybe he was right</i></b>' seem to support this idea. Given that at sixty-nine he recalls nothing of the experience, it is likely that this awareness is temporary, that it will also be forgotten in the future, and it emphasises an idea central to Beckett's work that 'people are bloody ignorant apes'. </div>
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In the current production at the Gate Theatre in Dublin, the voice of the thirty-nine year old Krapp is that of a younger Hurt, recorded in an earlier performance in March 2000 at the same theatre. The production emphasises the duality of light and darkness which is written into the text. The light/dark dichotomy can be seen as 'a further expression of Beckett's concern with man's basic dualism, the Cartesian separation of mind and body.' (<span class="Apple-style-span" style="font-size: x-small;">Fletcher and Fletcher, 1985, p.120</span>) In this production, the lighting follows the original direction with the sole source coming from the lamp above the table. Hurt plays within this liminal space, stopping just outside the edge of his lighted area and drawing quickly back into the light, delineating it for the audience. </div>
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The voice on tape reminds the older man of a 'memorable equinox', a day in which there is an equal amount of light and dark, and which the older Krapp had all but forgotten. This was the time when the '<i><b>shade came down</b></i>' as his mother died and when he bade '<b><i>farewell to love'</i></b>. The recorded memory of this day is repeated and the lyricism of it highlighted by the repetition. </div>
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<i><b>I asked her to look at me and after a few moments (pause) she did, but the eyes just slits because of the glare. I bent over her to get them in the shadow and they opened. (pause) Let me in. (pause) We drifted in among the flags and stuck. The way they went down, sighing, before the stem! (pause) I lay down across her with my face in her breasts and my hand on her. We lay there without moving. But under us all moved, and moved us, gently up and down, and from side to side. </b></i></div>
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The rhythm of the water, caught here by the younger man hints at his ability as a writer, yet at the same time we see his inability to grasp the possibility of love.<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-eM0YY109RKA/UVN2Y-C6_MI/AAAAAAAAAdM/xUzFgma7p6k/s1600/Screen+shot+2013-03-27+at+22.43.38.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://1.bp.blogspot.com/-eM0YY109RKA/UVN2Y-C6_MI/AAAAAAAAAdM/xUzFgma7p6k/s400/Screen+shot+2013-03-27+at+22.43.38.png" width="262" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John Hurt. Gate Theatre, Dublin. 2013.</td></tr>
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Fletcher and Spurling draw attention to this poetic quality when they write that 'sheltered under his most rebarbative title - with its triple allusion to excrement, disillusion and machinery - lies Beckett's most lyrical and tender play.' <span class="Apple-style-span" style="font-size: x-small;">( 1972, p.88)</span> But <i>Krapp's Last Tape</i> is also shot through with moments of humour and bathos. We have the clown-like business with the banana skins at the opening of the play, the description of Krapp wearing 'Rusty black ... trousers too short for him [and] ...a surprising pair of dirty white boots, size ten at least' and the irony of the older man, laughing with and at his younger selves. </div>
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Hurt switched easily and comfortably between these lyrical and whimsical moments to the realisation of his loss and to the 'profound gloom' and 'misery' of his condition. Juxtaposed with this lyricism and humour is the threat of the darkness and what it might contain. In the 1969 Berlin production, Beckett, directing Martin Held, told his actor that the reason Krapp glances behind is that 'death is standing behind him and unconsciously he's looking for it [because] it's the end … he's through with his work, with love and with religion'. Hurt sustains this moment of uneasiness for just the right length of time to draw our attention to it, before moving on with the action of the play. </div>
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In this memorable performance John Hurt held the audience in the opening scene as he sat silent and immobile for at least two minutes, giving us that sense, which we often find in Beckett's plays, that what is on stage is surrounded by a vast silence and darkness. The only thing that holds this emptiness back is the light and the voice of the actor. The fading out of that light and voice at the end of the play are a powerful reminder of the common fate of those born astride the grave. The death of the light in this production left the audience moved and subdued to such a degree that that it delayed our ability to applaud the performance. When the house lights came up the spell was broken and Hurt received a well deserved standing ovation. </div>
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Reviewed by Ann Fallon.<br />
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<br />Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-43196349711662055892013-03-27T11:09:00.002-07:002013-04-26T03:59:47.724-07:00Index of reviews - by author / publisher. Alphabetical list of authors reviewed, with links to their review.<br />
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><span style="font-family: Georgia, "Times New Roman", serif;"><strong>Auge, Celeste</strong>.</span> <span style="mso-tab-count: 2;"> </span><span class="Apple-style-span" style="font-size: x-small;">Short Stories. <span style="mso-tab-count: 1;"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Fireproof</i> <i style="mso-bidi-font-style: normal;">and Other <span style="mso-tab-count: 8;"> </span></i></b></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="mso-tab-count: 8;"> </span>Stories.</i></b></span></div>
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<span lang="EN-US" style="font-family: Times;"><o:p><span class="Apple-style-span" style="font-size: 16pt;"> </span><span class="Apple-style-span" style="font-size: x-small;"><a href="http://annaliviareview.blogspot.ie/2012/09/fireproof-and-other-stories-celeste-auge.html" target="_blank">http://annaliviareview.blogspot.ie/2012/09/fireproof-and-other-stories-celeste-auge.html </a></span></o:p></span></div>
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<span lang="EN-US" style="font-family: Times;"><o:p><br /></o:p></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Beckett, Samuel</span>.</strong> <span style="mso-tab-count: 1;"> <span class="Apple-style-span" style="font-size: x-small;"> </span></span><span class="Apple-style-span" style="font-size: x-small;">Drama.<span style="mso-tab-count: 2;"> </span>Before Vanishing: </span><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Times; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span class="Apple-style-span" style="font-size: x-small;"> Ohio Impromptu, Footfalls, That Time &, Come and Go.</span><o:p></o:p></strong></span></i></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2013/03/before-vanishing-new-theatre-essex-st.html" target="_blank">http://annaliviareview.blogspot.ie/2013/03/before-vanishing-new-theatre-essex-st.html </a></span><br />
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<span class="Apple-style-span" style="font-size: x-small;">Drama <strong> <i>Krapp's Last Tape</i></strong></span><br />
<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2013/03/samuel-beckett-krapps-last-tape.html" target="_blank">http://annaliviareview.blogspot.ie/2013/03/samuel-beckett-krapps-last-tape.html</a></span><br />
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<span lang="EN-US" style="font-family: Times; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><span style="mso-tab-count: 1;"> </span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Beirne, Gerard.</span></strong> <span style="mso-tab-count: 2;"> <span class="Apple-style-span" style="font-size: x-small;"> </span></span><span class="Apple-style-span" style="font-size: x-small;">Poetry. <span style="mso-tab-count: 2;"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Games of Chance: A<o:p></o:p></i></b></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><span class="Apple-style-span" style="font-size: x-small;">Gambler’s Manual.</span><o:p></o:p></span></i></b></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2012/11/games-of-chance-gamblers-manual-by.html" target="_blank">http://annaliviareview.blogspot.ie/2012/11/games-of-chance-gamblers-manual-by.html</a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Dear, Nick</span>.</strong><span style="mso-tab-count: 2;"> <span class="Apple-style-span" style="font-size: x-small;"> </span></span><span class="Apple-style-span" style="font-size: x-small;">Drama.<span style="mso-tab-count: 2;"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">The Dark Earth and the <o:p></o:p></i></b></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Times; font-size: xx-small; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><span style="mso-tab-count: 7;"> </span><span class="Apple-style-span" style="font-size: x-small;">Light Sky</span></span></i></b><span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><span class="Apple-style-span" style="font-size: x-small;">.</span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times;"><span class="Apple-style-span" style="color: #990000;"><span class="Apple-style-span" style="font-size: 16pt;"> </span><b>Guest reviewer: Peter Lawler.</b></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2012/11/the-dark-earth-and-light-sky.html" target="_blank">http://annaliviareview.blogspot.ie/2012/11/the-dark-earth-and-light-sky.html</a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Dedalus Press</span>.</strong> <span style="mso-tab-count: 2;"> </span><span class="Apple-style-span" style="font-size: x-small;">Poetry.<span style="mso-tab-count: 2;"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Airborne: Poetry from <o:p></o:p></i></b></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><span class="Apple-style-span" style="font-size: x-small;"><span style="mso-tab-count: 7;"> </span>Ireland. </span><o:p></o:p></span></i></b></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2012/08/airborne-poetry-from-ireland-by-dedalus.html" target="_blank">http://annaliviareview.blogspot.ie/2012/08/airborne-poetry-from-ireland-by-dedalus.html</a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Donaldson, Moyra</span>.</strong><span style="mso-tab-count: 1;"> </span><span class="Apple-style-span" style="font-size: x-small;">Poetry.<span style="mso-tab-count: 2;"> </span></span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-size: x-small;">Selected Poems.</span><o:p></o:p></i></b></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"> <a href="http://annaliviareview.blogspot.ie/2012/12/moyra-donaldson-selected-poems.html">http://annaliviareview.blogspot.ie/2012/12/moyra-donaldson-selected-poems.html</a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Fanning, Arnold Thomas</span>.</strong><span style="mso-spacerun: yes;"> </span><span class="Apple-style-span" style="font-size: x-small;">Drama<span style="mso-tab-count: 1;"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Griswold</i></b>.</span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2012/09/griswold-by-arnold-thomas-fanning.html" target="_blank">http://annaliviareview.blogspot.ie/2012/09/griswold-by-arnold-thomas-fanning.html</a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Green, Melissa</span>.</strong> <span style="mso-tab-count: 2;"> </span><span class="Apple-style-span" style="font-size: x-small;">Poetry.<span style="mso-tab-count: 2;"> </span></span></span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Times; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><span class="Apple-style-span" style="font-size: x-small;">The Squanicook Eclogues.</span><o:p></o:p></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: Times; font-size: 14.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><span style="mso-tab-count: 1;"> </span></span></i></b><span lang="EN-US" style="font-family: Times; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><a href="http://annaliviareview.blogspot.ie/2013/01/the-squanicook-ecologues.html">http://annaliviareview.blogspot.ie/2013/01/the-squanicook-ecologues.html</a><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Jamison, Andrew</span>.</strong> <span style="mso-tab-count: 1;"> </span><span class="Apple-style-span" style="font-size: x-small;">Poetry.<span style="mso-tab-count: 2;"> </span></span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-size: x-small;">Happy Hour.</span><o:p></o:p></i></b></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2012/10/happy-hour-by-andrew-jamison.html" target="_blank">http://annaliviareview.blogspot.ie/2012/10/happy-hour-by-andrew-jamison.html</a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Johnston, Fred.</span></strong> <span style="mso-tab-count: 2;"> </span><span class="Apple-style-span" style="font-size: x-small;">Poetry.<span style="mso-tab-count: 2;"> </span><b>Translations <span style="mso-spacerun: yes;"> </span>of his work <o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><span class="Apple-style-span" style="font-size: x-small;"><b><span style="mso-tab-count: 7;"> </span>From French to English.</b></span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2013/02/fred-johnston.html" target="_blank">http://annaliviareview.blogspot.ie/2013/02/fred-johnston.html</a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Keegan, Claire</span>.</strong><span style="mso-tab-count: 2;"> </span><span class="Apple-style-span" style="font-size: x-small;">Novella.<span style="mso-tab-count: 2;"> </span></span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-size: x-small;">Foster.</span><o:p></o:p></i></b></span></div>
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<span lang="EN-US" style="font-family: Times;"><span class="Apple-style-span" style="font-size: 16pt;"> </span><a href="http://annaliviareview.blogspot.ie/2013/03/foster-by-claire-keegan.html" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://annaliviareview.blogspot.ie/2013/03/foster-by-claire-keegan.html</span></a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Kostick, Gavin</span>.</strong><span style="mso-tab-count: 2;"> </span><span class="Apple-style-span" style="font-size: x-small;">Drama.<span style="mso-tab-count: 2;"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Fight Night</i></b>.</span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2012/11/fight-night-gavin-kostick.html" target="_blank">http://annaliviareview.blogspot.ie/2012/11/fight-night-gavin-kostick.html</a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Longley, Michael</span>.</strong><span style="mso-tab-count: 1;"> </span><span class="Apple-style-span" style="font-size: x-small;">Poetry.<span style="mso-tab-count: 2;"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Collected Poems</i></b></span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times;"><span class="Apple-style-span" style="font-size: 16pt;"> </span><a href="http://annaliviareview.blogspot.ie/2013/03/michael-longley-collected-poems.html" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://annaliviareview.blogspot.ie/2013/03/michael-longley-collected-poems.html</span></a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong>Mazer, Ben.</strong><span style="mso-tab-count: 2;"> </span><span class="Apple-style-span" style="font-size: x-small;">Poetry. <span style="mso-tab-count: 2;"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">January 2008</i></b>.</span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2012_09_01_archive.html" target="_blank">http://annaliviareview.blogspot.ie/2012_09_01_archive.html</a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">McGlinchey, Afric</span>.</strong><span style="mso-tab-count: 1;"> </span><span class="Apple-style-span" style="font-size: x-small;">Poetry. <b><i>The lucky star of hidden things.</i></b></span><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times;"><span class="Apple-style-span" style="font-size: 16pt;"> </span><a href="http://annaliviareview.blogspot.ie/2013/03/afric-mcglinchey-lucky-star-of-hidden.html" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://annaliviareview.blogspot.ie/2013/03/afric-mcglinchey-lucky-star-of-hidden.html</span></a></span></div>
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<span style="font-family: Georgia, "Times New Roman", serif;"></span><span style="font-family: Georgia, "Times New Roman", serif; font-size: large;">McGuckian, Medbh.</span> <span style="font-size: x-small;">Poetry. </span><em><strong><span style="font-size: x-small;">The High Caul Cap</span>.</strong></em></div>
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<span style="font-size: x-small;"><a href="http://annaliviareview.blogspot.ie/2013/04/medbh-mcguckian-high-caul-cap.html" target="_blank">http://annaliviareview.blogspot.ie/2013/04/medbh-mcguckian-high-caul-cap.html</a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Miller, Arthur.</span></strong><span style="mso-tab-count: 2;"> </span><i><span class="Apple-style-span" style="font-size: x-small;">Drama.<span style="mso-tab-count: 2;"> </span><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-style: normal;">All My Sons.</span></b></span></i><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2013/02/all-my-sons-directed-by-michael-omeara.html" target="_blank">http://annaliviareview.blogspot.ie/2013/02/all-my-sons-directed-by-michael-omeara.html</a></span></div>
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<span style="font-family: Georgia, "Times New Roman", serif;"><span id="goog_5316916"></span></span><span style="font-family: Georgia, "Times New Roman", serif; font-size: large;">Nikolayev, Philip.</span> <span class="Apple-style-span" style="font-size: x-small;">Poetry <i><b>Letters From Aldenderry.</b></i></span></div>
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<a href="http://annaliviareview.blogspot.ie/2013/04/philip-nikolayev.html" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://annaliviareview.blogspot.ie/2013/04/philip-nikolayev.html</span></a></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><br /></span><span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">O'Donoghue, Peadar.</span></strong><span style="mso-tab-count: 1;"> </span><span class="Apple-style-span" style="font-size: x-small;">Poetry.</span><span style="mso-tab-count: 2;"><span class="Apple-style-span" style="font-size: x-small;"> </span> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-size: x-small;">Jewel</span><o:p></o:p></i></b></span></div>
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<span lang="EN-US" style="font-family: Times; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"> Reviewed by Ann Fallon: <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2012/09/jewel-peadar-odonoghue.html" target="_blank">http://annaliviareview.blogspot.ie/2012/09/jewel-peadar-odonoghue.html</a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">O'Donoghue, Peadar.</span></strong><span style="mso-tab-count: 1;"> </span><span class="Apple-style-span" style="font-size: x-small;">Poetry.</span><span style="mso-tab-count: 2;"><span class="Apple-style-span" style="font-size: x-small;"> </span> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-size: x-small;">Jewel </span></i></b><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><span class="Apple-style-span" style="color: #990000;"> <b>Reviewed by Guest Reviewer, John W. Sexton: </b></span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2012/12/jewel-reviewed-by-john-w-sexton.html" target="_blank">http://annaliviareview.blogspot.ie/2012/12/jewel-reviewed-by-john-w-sexton.html</a></span></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><strong><span style="font-family: Georgia, "Times New Roman", serif;">Thayil, Jeet.</span></strong><span style="mso-tab-count: 2;"> </span><span class="Apple-style-span" style="font-size: x-small;">Fiction.<span style="mso-tab-count: 2;"> </span><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Narcopolis</i></b>.</span><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2013/03/narcropolis-by-jeet-thayil.html" target="_blank">http://annaliviareview.blogspot.ie/2013/03/narcropolis-by-jeet-thayil.html</a></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;">Arts Events<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Times; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Times;"><span style="font-family: Georgia, "Times New Roman", serif;"><strong>The European Muse</strong>:</span><span style="mso-tab-count: 1;"> </span>Influence of translation upon Irish poets.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"> <a href="http://annaliviareview.blogspot.ie/2012/11/the-european-muse.html" target="_blank">http://annaliviareview.blogspot.ie/2012/11/the-european-muse.html</a></span></div>
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-34694526957244957792013-03-24T07:05:00.001-07:002013-03-24T13:24:21.019-07:00Highly Recommended 24th March, 2013.<br />
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<span class="Apple-style-span" style="color: red; font-size: large;">SUNDAY</span></h2>
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<tr><td class="tr-caption" style="text-align: center;">Sir Christopher Ricks</td></tr>
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FAITH IN ELIOT<br />
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In this lecture Christopher Ricks, an atheist himself, looks at the idea of faith. Faith in art, in the powers of the artist and in the artist's own powers in his work. Ricks explores the ineluctable separation between faith and knowledge, the challenge which imaginative literature presents, particularly when produced by an artist with a differing world philosophy and finally looks at Eliot's essay on Dante and the particular response which Eliot chose for the character of Brunetto Latini. <br />
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A fascinating lecture and one which will deepen your understanding and appreciation of T S Eliot.<br />
<a href="http://audio.wbur.org/storage/2008/12/worldofideas_1207_faith-in-eliot.mp3" target="_blank">http://audio.wbur.org/storage/2008/12/worldofideas_1207_faith-in-eliot.mp3</a><br />
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<b><span class="Apple-style-span" style="color: red; font-size: large;">MONDAY:</span></b></h2>
Continuing with Eliot:<br />
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<a href="http://2.bp.blogspot.com/-4jQAf6sIPsY/UU7pjhmkO5I/AAAAAAAAAb0/9tfIvT0Tc_Y/s1600/Screen+shot+2013-03-24+at+11.54.28.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="245" src="http://2.bp.blogspot.com/-4jQAf6sIPsY/UU7pjhmkO5I/AAAAAAAAAb0/9tfIvT0Tc_Y/s320/Screen+shot+2013-03-24+at+11.54.28.png" width="320" /></a>TS Eliot's 1962 letter to Miss Alice Quinn identifies his essay on Dante as his personal favourite, ahead of <b><i>The Waste Land</i></b> and <b><i>Prufrock</i></b>. That essay is reproduced here and in it Eliot writes that:</div>
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<span class="Apple-style-span" style="color: #000020;">'Dante’s is the most comprehensive, and the most</span><span class="Apple-style-span" style="color: #000020;"> </span><span class="Apple-style-span" style="color: #000020;"><i>ordered</i></span><span class="Apple-style-span" style="color: #000020;"> </span><span class="Apple-style-span" style="color: #000020;">presentation of emotions that has ever been made. Dante’s method of dealing with any emotion may be contrasted, not so appositely with that of other “epic” poets as with that of Shakespeare. Shakespeare takes a character apparently controlled by a simple emotion, and analyses the character and the emotion itself. The emotion is split up into constituents—and perhaps destroyed in the process. The mind of Shakespeare was one of the most</span><span class="Apple-style-span" style="color: #000020;"> </span><span class="Apple-style-span" style="color: #000020;"><i>critical</i></span><span class="Apple-style-span" style="color: #000020;"> </span><span class="Apple-style-span" style="color: #000020;">that has ever existed. Dante, on the other hand, does not analyse the emotion so much as he exhibits its relation to other emotions'.</span></div>
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<a href="http://www.bartleby.com/200/sw14.html" target="_blank">http://www.bartleby.com/200/sw14.html</a></div>
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<span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif; font-size: large;">Four very worthy literary magazines, looking for submissions:</span></h2>
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<a href="http://4.bp.blogspot.com/-jtPGVtfWMK8/UUwpPoUNviI/AAAAAAAAAbE/KzxzMPw1u7M/s1600/Screen+shot+2013-03-22+at+09.47.35.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-jtPGVtfWMK8/UUwpPoUNviI/AAAAAAAAAbE/KzxzMPw1u7M/s320/Screen+shot+2013-03-22+at+09.47.35.png" width="216" /></a><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Revival Literary Journa</b>l No. 26 is calling for submissions from local, national and international poets and writers for issue 26 which will be published in Limerick, June 2013.</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The deadline for submissions is: </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Fri 26th April 2013</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Poetry</b> send to: </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">revival.lit@gmail.com</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Prose/Reviews</b> send to: </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">limerickwriterscentre@gmail.com</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Snail mai</b>l: The Editor, Revival, Moravia, Glenmore Ave., Roxboro Rd., Limerick.</span></div>
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<a href="http://www.limerickwriterscentre.com/revival-literary-journal.html" target="_blank">http://www.limerickwriterscentre.com/revival-literary-journal.html</a></div>
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<span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif;">As you know<b>, Poetry Bus 4</b> has recently been launched. </span><br />
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<tr><td class="tr-caption" style="text-align: center;">Attracta McCabe by Mike Absalom</td></tr>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">It is a hugely successful print publication e<span class="Apple-style-span" style="line-height: normal;">dited by Peadar O'Donoghue and containing </span></span><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">ninety-three poems by almost as many international poets, plus two visual poems; </span></span><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Flash Fiction; </span></span><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Illustrations; </span></span><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Reviews; An article by Dave Lordan and: </span></span><span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">A cd of 12 tracks.</span></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The variety of work on display is staggering and threatens to blind the reader who tries to make their way too quickly. With this in mind I have been deliberately taking the reading very slowly. </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The slower pace allows such gems as <b>Arthur Broomfield'</b>s ekphrastic poem '<i><b>After Edward Hopper's 'Hotel Room'</b></i> to come to light. With it's muted appreciation of Hopper's muted moment, the poem is eloquent on the 'magnified absences' and negative spaces which the painting presents. <b>Ian C. Smith</b>'s <b><i>Shabby Launderette, Dismal Saturday</i></b> and <b><i>Surplus</i></b> show a sureness and confidence which should mark the beginning of an independent collection or chapbook, certainly one that I would be interested in reading. The dark comedy of <b>Frances Kenny</b>'s flash fiction piece, <b><i>Granny Fights Back</i></b> provides a counterpoint to the poetry and the photographs and illustrations throughout the collection provide just the right note of colour, humour and visual conundrums. </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Poetry Bus 5 is currently accepting submissions. To enter contact thepoetrybusmag@gmail.com. </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">If you don't already have a copy of Poetry Bus 4 you should purchase it here:</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><a href="http://thepoetrybus.blogspot.ie/" target="_blank">http://thepoetrybus.blogspot.ie/</a></span></div>
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<span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif;">The latest issue of <i><b>The Battersea Review</b></i> includes poems by:</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>William Logan; U. S. Dhuga; Todd Swift; Saskia Hamilton; </b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Peter Behrman de Sinety & Petya Ivanova; Mario Murgia; </b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>James Reidel; J. Robert Oppenheimer; Gerard Malanga; </b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>David C. Ward; Daniel Evans Pritchard; Charles Bernstein, </b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Anand Thakore and Adam Fitzgerald. </b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">In this publication the standard of work is consistently high but in reading these poems I was also struck by it's truly international quality. From the mesmerising <b><i>The Koh-I-Noor</i></b> by Hindustani poet, classical singer and musician, <b>Anand Thakore</b>, which demands a slower more cosmic pace from Western readers, to the beautiful Russian translations from <b>Philip Nikolayev</b> of <b>Rilke's</b> Russian poems, to the deceptive simplicity of Mexican/Italian poet <b>Mario Murgia</b>, here translated by <b>Ben Mazer</b>. Combined with more familiarly Western work from <b>Charles Bernstein</b>, <b>David C. Ward</b> and <b>Adam Fitzgerald</b> and others, <b>The Battersea Review </b>is fast becoming the meeting place for the best in contemporary world poetry. </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">If you would like to submit to the Review, Editor Ben Mazer tells us that submissions for the 4th edition will be accepted from the beginning of June and should be sent to batterseareview@gmail.com.</span><br />
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<a href="http://thebatterseareview.com/poems" target="_blank">http://thebatterseareview.com/poems</a></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span"><span class="Apple-style-span" style="border-collapse: collapse; color: red; line-height: 18px;"><b><span class="Apple-style-span">Barefoot Muse Press</span></b><span class="Apple-style-span"> </span></span></span></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 18px;">are continuing their open reading season in April. </span></span></div>
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Back by popular demand—our second Chapbook Open Reading Period, April 1-30 2013.</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">Once again, we bring you this traditional publishing service with no reading fee! Simply upload your 24-48 page poetry manuscript to our FREE submissions manager at <a class="page" href="http://greensubmissions.com/98/barefoot-muse-press/index.php" style="color: #00538a; text-decoration: none;">Green Submissions</a> during the month of April. All manuscripts considered for publication in either our Chapbook or Translation Series. </span><a href="http://barefootmuse.com/" target="_blank"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: small;">http://barefootmuse.com/</span></a></div>
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<b><span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif; font-size: large;">WEDNESDAY:</span></b></h2>
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<b><i><span class="Apple-style-span" style="color: #181818; font-family: georgia, serif; font-size: 14px; line-height: 18px;">“The only way for a woman, as for a man, to find herself, to know herself as a person, is by creative work of her own.”</span><span class="Apple-style-span" style="color: #181818; font-family: georgia, serif; font-size: 14px; line-height: 18px;"> </span></i></b></div>
<span class="Apple-style-span" style="color: #181818; font-family: georgia, serif; font-size: 14px; line-height: 18px;"> ―</span><span class="Apple-style-span" style="color: #181818; font-family: georgia, serif; font-size: 14px; line-height: 18px;"> </span><span class="Apple-style-span" style="color: #181818; font-family: georgia, serif; font-size: 14px; line-height: 18px;"><a href="http://www.goodreads.com/author/show/21798.Betty_Friedan" style="color: #666600; text-decoration: none;">Betty Friedan</a></span><span class="Apple-style-span" style="color: #181818; font-family: georgia, serif; font-size: 14px; line-height: 18px;">,</span><span class="Apple-style-span" style="color: #181818; font-family: georgia, serif; font-size: 14px; line-height: 18px;"> </span><span class="Apple-style-span" style="color: #181818; font-family: georgia, serif; font-size: 14px; line-height: 18px;"><i><a href="http://www.goodreads.com/work/quotes/809732" style="color: #666600; text-decoration: none;">The Feminine Mystique</a></i></span><br />
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<a href="http://4.bp.blogspot.com/-YAclOc9aFgc/UU7nlAKm9mI/AAAAAAAAAbs/845HhIqtTVU/s1600/Screen+shot+2013-03-24+at+11.45.59.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="214" src="http://4.bp.blogspot.com/-YAclOc9aFgc/UU7nlAKm9mI/AAAAAAAAAbs/845HhIqtTVU/s320/Screen+shot+2013-03-24+at+11.45.59.png" width="320" /></a><i>The Feminine Mystique</i> by Betty Friedan was published in 1963 and spent six weeks on the <i>Times</i> best-seller list.</div>
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It is single handedly credited with sparking the 'second-wave' feminist movement in the US. </div>
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This month sees the 50th anniversary of the publication and we have a piece from <b><i>The</i></b> <b><i>New Yorker</i></b> which reminds us why it was such an important book.</div>
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<a href="http://www.newyorker.com/arts/critics/books/2011/01/24/110124crbo_books_menand#ixzz2OGirR6PS" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">http://www.newyorker.com/arts/critics/books/2011/01/24/110124crbo_books_menand#ixzz2OGirR6PS</span></a></div>
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Plus a candid panel discussion on how four prominent women first encountered <i>The Feminine Mystique</i> and the strengths and limitations with which they regard it. </div>
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Dean <b>Virginia Sapiro</b>, Professor of Political Science and Dean of Boston University's College of Arts and Sciences.</div>
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<b>Eileen Boris</b>, Professor of History and Black Studies at the University of California, Santa Barbara.</div>
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<b>Susan Reverby</b>, Marion Butler McClean Professor in History of Ideas, Welsley College.</div>
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<b>Carol Rivers</b>, Professor of Journalism, Boston University College of Communication. </div>
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<b>Roberta Salper</b>, the first full-time faculty member in the first ever Women's Studies Programmes in 1970 at Sandiego University who has just published her memoir <i>Domestic Subversive</i>. </div>
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<a href="http://audio.wbur.org/storage/2013/03/worldofideas_0310_betty.mp3" target="_blank">http://audio.wbur.org/storage/2013/03/worldofideas_0310_betty.mp3</a></div>
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<strong>The Poetry London Competition 2013 is now open for entries! DEADLINE 31ST MAY.</strong></div>
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The Poetry London Competition, now in its fourteenth year, has become one of the most highly-regarded in the country, attracting many hundreds of entries from across the UK and abroad. We are pleased to announce that in celebration of Poetry London’s 25th anniversary year, we have invited the magazine’s original poetry editor, Pascale Petit, to judge the 2013 competition. Previous judges have included Neil Astley (2012), Paul Farley (2011), Michael Longley (2010), Don Paterson (2009), Kathleen Jamie (2008), and Jo Shapcott (2007). Pascale Petit's judge’s report and the winning poems are published in the Autumn ’13 issue of <em>Poetry London</em>.</div>
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<strong>Entrants may submit poems by post</strong>, for which you can download the entry form below. Alternatively, for the first time,<strong>we will accept entries by email </strong>which follow the guidelines and format below.</div>
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<a href="http://www.poetrylondon.co.uk/competition" target="_blank">http://www.poetrylondon.co.uk/competition</a><br />
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<span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif;">FRIDAY:</span></h2>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Two sites which authors should be aware of: </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The Red Room - an online bookstore, and </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Nothing Binding - a free author marketing site. </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Both worth investigating today:</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 22px;"><b>Red Room</b> say that they have made history by launching the only online bookstore </span><span class="Apple-style-span" style="line-height: 22px;">that breaks down the “retail wall” between authors and readers. 'If you’re an author, Red Room shares its retail profits from your book sales with you, at least doubling your income, and connects you directly with all of your book buyers, something no other retailer in the world does</span><span class="Apple-style-span" style="line-height: 22px;">. If you’re a reader, when you buy</span><span class="Apple-style-span" style="line-height: 22px;"> </span><span class="Apple-style-span" style="line-height: 22px;">on Red Room, your favorite authors appreciate it and want to meet you!' </span></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="line-height: 22px;">Okay, so there's the payoff for readers - but for professional writers 'meeting' their audience is part of the package anyhow. </span></span><br />
<a href="http://redroom.com/about-red-room" target="_blank"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">http://redroom.com/about-red-room</span></a><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="color: #333333; line-height: 17px;"><b>Nothing Binding</b> is a marketing launch site for authors. It's free to join and one of the benefits of membership is that your book will be reviewed for free by one of their official readers. You can profile each of your books and reach a new market.</span><span class="Apple-style-span" style="color: #333333; line-height: 17px;"> </span></span><br />
<span class="Apple-style-span" style="color: #333333; font-family: Georgia, 'Times New Roman', serif; line-height: 17px;"><a href="http://www.nothingbinding.com/" target="_blank">http://www.nothingbinding.com/</a></span><br />
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<b><span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif;">SATURDAY:</span></b></h2>
<a href="http://3.bp.blogspot.com/-Xg4IWC4aBEE/UUwkljDTmLI/AAAAAAAAAa8/2SCUWNJVsI0/s1600/Screen+shot+2013-03-22+at+09.29.00.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-Xg4IWC4aBEE/UUwkljDTmLI/AAAAAAAAAa8/2SCUWNJVsI0/s1600/Screen+shot+2013-03-22+at+09.29.00.png" /></a><br />
<b>Martha Sprackland</b>, poetry editor of <b>Cake</b> magazine and assistant editor for poetry at <b>Faber and Faber</b> - writes about one of the hundreds of ways of getting into poetry.<br />
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<span class="Apple-style-span" style="color: #333333; font-family: arial, sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 14px; line-height: 18px;"><i><a href="http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2013/mar/21/poetry-prizes-support-professional-development" target="_blank">http://www.guardian.co.uk/culture-professionals-network/culture-professionals-blog/2013/mar/21/poetry-prizes-support-professional-development</a></i></span></span><br />
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<span class="Apple-style-span" style="border-collapse: collapse; color: red; font-family: Georgia, 'Times New Roman', serif; font-size: large; line-height: 18px;"><b>SUNDAY:</b></span></h2>
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<a href="http://1.bp.blogspot.com/-L-c_Oy3K_jo/UU8MStk0jRI/AAAAAAAAAck/GfmUlvhkx6s/s1600/Screen+shot+2013-03-24+at+14.22.29.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="319" src="http://1.bp.blogspot.com/-L-c_Oy3K_jo/UU8MStk0jRI/AAAAAAAAAck/GfmUlvhkx6s/s320/Screen+shot+2013-03-24+at+14.22.29.png" width="320" /></a></div>
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<span class="Apple-style-span" style="color: #333333;"><span class="Apple-style-span" style="border-collapse: collapse; font-family: Georgia, 'Times New Roman', serif; line-height: 18px;"><b><br /></b></span></span>
<span class="Apple-style-span" style="color: #333333;"><span class="Apple-style-span" style="border-collapse: collapse; font-family: Georgia, 'Times New Roman', serif; line-height: 18px;"><b>Dromineer Literary Festival</b> <span class="Apple-style-span" style="font-size: x-small;"><a href="https://www.facebook.com/DromineerLitFestival" target="_blank">https://www.facebook.com/DromineerLitFestival</a></span></span></span><br />
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<span class="Apple-style-span" style="color: #333333;"><span class="Apple-style-span" style="border-collapse: collapse; font-family: Georgia, 'Times New Roman', serif; line-height: 18px;">passed on this wonderful link -</span></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="color: #333333;"><span class="Apple-style-span" style="border-collapse: collapse; line-height: 18px;">Arthur Miller reading from his own </span></span><span class="Apple-style-span" style="color: #333333; font-weight: 300; line-height: 22px;">log of </span><span class="Apple-style-span" style="color: #333333; line-height: 22px;"><b>Death of a Salesman</b></span><span class="Apple-style-span" style="color: #333333; font-weight: 300; line-height: 22px;"> in Beijing in 1984 to a live audience. </span></span><br />
<span class="Apple-style-span" style="color: #333333; font-family: Georgia, 'Times New Roman', serif; font-weight: 300; line-height: 22px;"><br /></span>
<span class="Apple-style-span" style="color: #333333; font-family: Georgia, 'Times New Roman', serif; font-weight: 300; line-height: 22px;">This is a recording of a live event, from the National Theatre Archive.</span><br />
<span class="Apple-style-span" style="color: #333333; font-family: Georgia, 'Times New Roman', serif; font-weight: 300; line-height: 22px;"><br /></span>
<span class="Apple-style-span" style="color: #333333; font-family: Georgia, 'Times New Roman', serif; font-weight: 300; line-height: 22px;"><a href="https://soundcloud.com/nationaltheatre/arthur-miller-podcast" target="_blank"><span class="Apple-style-span" style="font-size: x-small;">https://soundcloud.com/nationaltheatre/arthur-miller-podcast</span></a></span>Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-16088159484638095292013-03-16T22:27:00.000-07:002013-03-21T11:35:09.797-07:00Highly Recommended 17th March <br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">It's Saint Patrick's day and we want to celebrate.</span></h2>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">Here are links to the Irish artists that we've reviewed todate:</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Claire Keegan<span class="Apple-style-span" style="color: red;"> </span></span><span class="Apple-style-span" style="color: red; font-size: x-small;"><a href="http://annaliviareview.blogspot.ie/2013/03/foster-by-claire-keegan.html" target="_blank">http://annaliviareview.blogspot.ie/2013/03/foster-by-claire-keegan.html</a></span></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Afric McGlinchey<span class="Apple-style-span" style="color: red;"> </span></span><span class="Apple-style-span" style="color: red; font-size: xx-small;"><a href="http://annaliviareview.blogspot.ie/2013/03/afric-mcglinchey-lucky-star-of-hidden.html" target="_blank">http://annaliviareview.blogspot.ie/2013/03/afric-mcglinchey-lucky-star-of-hidden.html</a></span></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Michael Longley<span class="Apple-style-span" style="color: red;"> </span></span><a href="http://annaliviareview.blogspot.ie/2013/03/michael-longley-collected-poems.html" style="color: red;" target="_blank"><span class="Apple-style-span" style="font-size: xx-small;">http://annaliviareview.blogspot.ie/2013/03/michael-longley-collected-poems.html</span></a></span><br />
<span class="Apple-style-span" style="font-size: 24px; font-weight: bold;"><br /></span><span class="Apple-style-span" style="font-size: large;">Samuel Beckett</span><span class="Apple-style-span" style="font-size: 24px; font-weight: bold;"> </span><span class="Apple-style-span" style="font-size: 24px; font-weight: bold;"><a href="http://annaliviareview.blogspot.ie/2013/03/before-vanishing-new-theatre-essex-st.html" target="_blank"><span class="Apple-style-span" style="font-size: xx-small;">http://annaliviareview.blogspot.ie/2013/03/before-vanishing-new-theatre-essex-st.html</span></a></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;"><br /></span></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Fred Johnston<span class="Apple-style-span" style="color: red;"> </span></span><span class="Apple-style-span" style="color: red; font-size: xx-small;"><a href="http://annaliviareview.blogspot.ie/2013/02/fred-johnston.html" target="_blank">http://annaliviareview.blogspot.ie/2013/02/fred-johnston.html</a> </span></span><br />
<span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;"><br /></span></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Moyra Donaldson<span class="Apple-style-span" style="color: red;"> </span></span><span class="Apple-style-span" style="color: red; font-size: xx-small;"><a href="http://annaliviareview.blogspot.ie/2012/12/moyra-donaldson-selected-poems.html" target="_blank">http://annaliviareview.blogspot.ie/2012/12/moyra-donaldson-selected-poems.html</a></span></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Gerard Beirne<span class="Apple-style-span" style="color: red;"> </span></span><span class="Apple-style-span" style="color: red; font-size: xx-small;"><a href="http://annaliviareview.blogspot.ie/2012/11/games-of-chance-gamblers-manual-by.html" target="_blank">http://annaliviareview.blogspot.ie/2012/11/games-of-chance-gamblers-manual-by.html</a></span></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Andrew Jamison<span class="Apple-style-span" style="color: red;"> </span></span><span class="Apple-style-span" style="color: red; font-size: xx-small;"><a href="http://annaliviareview.blogspot.ie/2012_10_01_archive.html" target="_blank">http://annaliviareview.blogspot.ie/2012_10_01_archive.html</a></span></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Peadar O'Donoghue<span class="Apple-style-span" style="color: red;"> </span></span><span class="Apple-style-span" style="color: red; font-size: xx-small;"><a href="http://annaliviareview.blogspot.ie/2012/09/jewel-peadar-odonoghue.html" target="_blank">http://annaliviareview.blogspot.ie/2012/09/jewel-peadar-odonoghue.html</a></span></span><br />
<span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif;">reviewed by Ann Fallon </span><br />
<span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif;">and also by John Sexton: <a href="http://annaliviareview.blogspot.ie/2012/12/jewel-reviewed-by-john-w-sexton.html" target="_blank"><span class="Apple-style-span" style="font-size: xx-small;">http://annaliviareview.blogspot.ie/2012/12/jewel-reviewed-by-john-w-sexton.html</span></a></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Arnold Thomas Fanning<span class="Apple-style-span" style="color: red;"> </span></span><a href="http://annaliviareview.blogspot.ie/2012/09/griswold-by-arnold-thomas-fanning.html" style="color: red;" target="_blank"><span class="Apple-style-span" style="font-size: xx-small;">http://annaliviareview.blogspot.ie/2012/09/griswold-by-arnold-thomas-fanning.html</span></a></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Celeste Auge<span class="Apple-style-span" style="color: red;"> </span></span><a href="http://annaliviareview.blogspot.ie/2012/09/fireproof-and-other-stories-celeste-auge.html" style="color: red;" target="_blank"><span class="Apple-style-span" style="font-size: xx-small;">http://annaliviareview.blogspot.ie/2012/09/fireproof-and-other-stories-celeste-auge.html</span></a></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Airborne: Poetry from Ireland<span class="Apple-style-span" style="color: red;"> </span></span><span class="Apple-style-span" style="color: red; font-size: xx-small;"><a href="http://annaliviareview.blogspot.ie/2012_08_01_archive.html" target="_blank">http://annaliviareview.blogspot.ie/2012_08_01_archive.html</a> </span></span></div>
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<span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif; font-size: large;">A REMINDER OF MARCH DEADLINES.</span></h2>
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Drown in My Own Fears - <span class="Apple-style-span" style="font-family: 'Franklin Gothic Book'; font-size: medium;"> </span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">a <b>poetry</b> journal about the human condition, want poems and photographs reflecting that theme. </span></div>
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<a href="http://drowninmyownfears.angelfire.com/guidelines.html">http://drowninmyownfears.angelfire.com/guidelines.html</a><o:p></o:p></div>
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The Bath <b>Short Story</b> Award is an international competition which is looking for stories, on any theme or subject. They must be original and written in English and the deadline is the 30<sup>th</sup> March. <o:p></o:p></div>
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<a href="http://bathshortstoryaward.co.uk/?page_id=116">http://bathshortstoryaward.co.uk/?page_id=116</a><o:p></o:p></div>
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Cinnamon Press - deadline March 31<sup>st</sup> – need 9 new <b>books , novels or novellas.</b><o:p></o:p></div>
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<a href="http://www.cinnamonpress.com/about/submissions/">http://www.cinnamonpress.com/about/submissions/</a><o:p></o:p></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">KATY FISH SCHOLARSHIP – WRITER IN RESIDENCE. Deadline 31st March.</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="color: #444444; line-height: 18px;">The winner of the 2013-14 Kathy Fish Fellowship will be considered a "writer in residence" at</span><span class="Apple-style-span" style="color: #444444; line-height: 18px;"> </span><span class="Apple-style-span" style="color: #444444; line-height: 18px;"><em style="border-bottom-width: 0px; border-color: initial; border-left-width: 0px; border-right-width: 0px; border-style: initial; border-top-width: 0px; font-style: italic; font: inherit; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; padding-bottom: 0px; padding-left: 0px; padding-right: 0px; padding-top: 0px; vertical-align: baseline;">SmokeLong</em></span><span class="Apple-style-span" style="color: #444444; line-height: 18px;"> </span><span class="Apple-style-span" style="color: #444444; line-height: 18px;">for four quarterly issues (June 2013, September 2013, December 2013 and March 2014). Each issue will include one flash by the Fellowship winner.</span><span class="Apple-style-span" style="color: #444444; line-height: 18px;"><br /></span></span></div>
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<span class="Apple-style-span" style="color: #444444; line-height: 18px;"><a href="https://smokelong.submittable.com/submit/18768" target="_blank"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">https://smokelong.submittable.com/submit/18768</span></a></span></div>
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<b>Cactus Heart Press are looking for POETRY AND PROSE</b> on the theme - </div>
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however you choose to interpret it - of the Heart.<o:p></o:p></div>
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Deadline 31st March.</div>
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<a href="http://www.cactusheartpress.com/calling-all-hearts/">http://www.cactusheartpress.com/calling-all-hearts/</a><o:p></o:p></div>
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<b>Psalm translation competition</b> - deadline 31st March.<o:p></o:p></div>
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<span class="Apple-style-span" style="color: #333333; line-height: 20px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Pick any biblical Psalm and translate it into English (foreign language entries welcome with literal translation included). Mangle, tangle, make strange, reverse, jump off from - in short do whatever you like with your psalm as long as the result is strong poetry. No knowledge of Hebrew is necessary. Entries will be judged (by panel) on originality, musicality, accuracy (to the psalm's spirit), and aesthetics. Send entries to MatthewDLandrum(at)gmail(dot)com.</span></span></div>
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<a href="http://www.matthewlandrum.com/2013/02/lenten-psalm-translation-contest.html">http://www.matthewlandrum.com/2013/02/lenten-psalm-translation-contest.html</a><o:p></o:p></div>
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<b>The Penny Dreadful</b> a Cork based literary journal – are looking for <b>Fiction</b> and <b>Poetry</b>. Deadline 31st March.<o:p></o:p></div>
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<a href="http://www.thepennydreadful.org/index.php/submit">http://www.thepennydreadful.org/index.php/submit</a><o:p></o:p></div>
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<b>Flash Frontier t</b>heme for March is HIGH TIDE and winners will be published in April.<o:p></o:p></div>
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<b>POETRY. </b>Deadline 31st March.</div>
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<a href="http://flash-frontier.com/announcements/">http://flash-frontier.com/announcements/</a><o:p></o:p></div>
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<span lang="EN-US" style="color: #262626;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Bare Hands Poetry</b> and <b>Photography</b> Postcard Competition | Closing Date: 31-Mar-13<o:p></o:p></span></span></div>
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<span lang="EN-US" style="color: #262626;"><span class="Apple-style-span" style="border-collapse: collapse; color: #333333; line-height: 16px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Four winners will be selected and there will be a shared cash prize of €400. The two winning poems and two winning photographs of the competition will be turned into 2,000 beautiful postcards distributed to leading independent bookshops around the world including Dublin, London, Edinburgh, Derry, Galway, Cork, Paris, Berlin, New York, San Francisco, Los Angeles, Melbourne, Greece, Sydney, Toronto & Vancouver. They’ll be free so people can just pick them up! .</span><br /><br /><span class="Apple-style-span" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px;">The theme of the competition is Bare Hands. Deadline March 31st 2013!</span></span></span></div>
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<span lang="EN-US" style="color: #262626; font-family: 'Lucida Grande'; font-size: 13pt;"><a href="https://www.facebook.com/events/213222125469024/?fref=ts" target="_blank">https://www.facebook.com/events/213222125469024/?fref=ts</a></span></div>
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Fiction Attic Press FIRST NOVEL CONTEST<o:p></o:p></div>
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ATTIC PRESS are now accepting submissions of novels for a first novel contest. To be eligible, you must never have published a novel with a national press.</div>
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<strong>Prize:</strong> The winner will receive a $500 advance against royalties, publication in ebook and POD, and a standard publishing contract.<strong> </strong></div>
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<strong>Entry fee:</strong> $10.<strong> </strong><strong>Deadline:</strong> March 31, 2013</div>
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<a href="http://fictionattic.com/first-novel-contest/" target="_blank">http://fictionattic.com/first-novel-contest/</a></div>
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<span class="Apple-style-span" style="line-height: normal;"><span class="Apple-style-span" style="color: red; font-family: Georgia, 'Times New Roman', serif; font-size: large;"><b>TUESDAY:</b></span></span></h2>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-uan6IL0xs_s/UUVBOnEcAGI/AAAAAAAAAZ0/9pwcVN7lxbk/s1600/Screen+shot+2013-03-17+at+04.05.50.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-uan6IL0xs_s/UUVBOnEcAGI/AAAAAAAAAZ0/9pwcVN7lxbk/s1600/Screen+shot+2013-03-17+at+04.05.50.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b>Eabha Rose </b></td></tr>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Sharon Frye</b> is a poet from Northern Oklahoma who will be attending this year's <b>Fermoy International Poetry Festival. </b>She has published poems in the Irish journal "the first cut" (Issues 6 & 7), and in "Between Earth and Sky" by Silver Bow Publishing, Canada. We found this short poem of Sharon's, beautifully read by <b>Eabha Rose</b>, and thought you might enjoy her work</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Sharon's poem, "Antihero" is being translated into Portuguese for the Brazilian journal, "O Equador das Coisas!" and her poem "Risen Heroes" will be inscribed on a memorial sculpture dedicated to first responders, by sculptor Dean Thompson in Dallas, Texas.</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Her photography is featured on the cover of the poetry book, "Our Patch" by Phillip Larrera of Sacramento, California.</span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Voice Aquiver is a small sample of her work and also demonstrates the potential which soundcloud offers for poets, especially when teamed with the performance abilities of an artist such as Eabha Rose. The poem is under two minutes long and we hope you enjoy … </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Voice Aquiver - written by Sharon Frye and read by Eabha Rose.</span><br />
<a href="https://soundcloud.com/eabha-rose/prelude-voice-acquiver" target="_blank"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">https://soundcloud.com/eabha-rose/prelude-voice-acquiver</span></a><br />
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<span class="Apple-style-span" style="color: red;">WEDNESDAY: TRANSLATORS.</span></h2>
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Translations - new magazine - and translation in London.<br />
VerseJunkies are seeking editors to curate 'the world's first journal dedicated solely to the practice of intersemiotic translation - translation between mediums. While this is currently a hot topic in academic discussion, there is no platform which relates it directly to artists/directors/writers/musicians within their respective fields.<br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="color: #333333; line-height: 14px;">The content of VERSEJUNKIES includes scholarly articles and traditional translation alongside established modes of intersemiotic translation (i.e. ekphrasis). We seek to push the boundaries of the term ‘translation’ and welcome relevant media interpretations (film, music, visual arts, dance, writing) of the ‘source’ material posted on our site.</span><span class="Apple-style-span" style="color: #333333; line-height: 14px;"> </span><span class="Apple-style-span" style="color: #333333; line-height: 14px;"><br /></span><span class="Apple-style-span" style="color: #333333; line-height: 14px;"><br /></span><span class="Apple-style-span" style="color: #333333; line-height: 14px;">VERSEJUNKIES is published quarterly with ‘original’ (source) work offered for translation on a rotating basis. For instance, the first issue features the poetry of Thailand’s Zakariya Amataya as the source work. For the second issue, we will be seeking interpretations of a piece from the Middle East selected by Leila Sadeghi.</span><span class="Apple-style-span" style="color: #333333; line-height: 14px;"><br /></span><span class="Apple-style-span" style="color: #333333; line-height: 14px;"><br /></span><span class="Apple-style-span" style="color: #333333; line-height: 14px;">We will be integrating theoretical and academic aspects of intersemiotic translation: as such, we are always looking for academic papers dealing with issues in intersemiotic translation.</span><span class="Apple-style-span" style="color: #333333; line-height: 14px;"> </span><span class="Apple-style-span" style="color: #333333; line-height: 14px;"><br /></span><span class="Apple-style-span" style="color: #333333; line-height: 14px;"><br /></span><span class="Apple-style-span" style="color: #333333; line-height: 14px;">The traditional format of the print journal will not facilitate a publication with these multifaceted parameters. To circumvent the limitations of traditional publishing venues (solely print, solely media), I have elected to link both the domain name VERSEJUNKIES.COM with our YouTube platform VERSEJUNKIES (as well as other relevant social media networks) as possible venues for publication. </span></span><span class="Apple-style-span" style="color: #333333; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 11px; line-height: 14px;"><br /></span><br />
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<a href="https://www.facebook.com/versejunkies" target="_blank">https://www.facebook.com/versejunkies</a><br />
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<span class="Apple-style-span" style="color: red; font-size: large;"><b>THURSDAY: CHEKOV.</b></span></h2>
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<span class="Apple-style-span" style="letter-spacing: 1px; line-height: 24px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Dan Gioia's essay on Chekov's Short stories in general and 'The Lady with the Pet Dog' in particular. </b></span></span><br />
<span class="Apple-style-span" style="font-weight: 300; letter-spacing: 1px; line-height: 24px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span><span class="Apple-style-span" style="font-weight: 300; letter-spacing: 1px; line-height: 24px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Anton Chekhov's late stories mark a pivotal moment in European fiction–the point where nineteenth-century realist conventions of the short story begin their transformation into the modern form. The Russian master, therefore, straddles two traditions. On one side is the anti-Romantic realism of Maupassant with its sharp observation of external social detail and human behavior conveyed within a tightly drawn plot. On the other side is the modern psychological realism of early Joyce in which the action is mostly internal and expressed in an associative narrative built on epiphanic moments…..</span></span><br />
<a href="http://www.danagioia.net/essays/echekhov.htm" target="_blank">http://www.danagioia.net/essays/echekhov.htm</a><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">Susan Sontag's Diary Excerpts - illustrated. </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">The second edition now available.</span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: large;">Sontag on art and aesthetics.</span><br />
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<span class="Apple-style-span" style="color: #333333; font-family: fenwick-1, fenwick-2, sans-serif; font-size: 14px; letter-spacing: -1px; line-height: 21px;">'</span><span class="Apple-style-span" style="color: #333333; letter-spacing: -1px; line-height: 21px;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">All aesthetic judgment is really cultural evaluation.' (</span></span><span class="Apple-style-span" style="color: #333333; font-family: fenwick-1, fenwick-2, sans-serif; font-size: 14px; letter-spacing: -1px; line-height: 21px;">9/3/1956)</span><br />
<a href="http://www.brainpickings.org/index.php/2012/11/30/susan-sontag-on-art/" target="_blank">http://www.brainpickings.org/index.php/2012/11/30/susan-sontag-on-art/</a><br />
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<span class="Apple-style-span" style="color: red; font-size: large;"><b>SATURDAY:</b></span></h2>
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WERNER HERZOG AND CORMAC MC CARTHY - talk science and culture.<br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Physicist Lawrence M. Krauss suggests that science and art ask the same fundamental question: <em>Who are we, and what is our place in the universe?</em></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Over the next hour, Krauss is joined in his exploration of this question by the great filmmaker Werner Herzog (<em><a href="http://www.google.com/url?sa=t&source=web&cd=2&sqi=2&ved=0CD0QtwIwAQ&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DogYDUmIigw0&ei=3CynTaqaK4zpgQfRzrTzBQ&usg=AFQjCNGUvNQYn9T5Ha3_riAhi5otViJJWA" style="outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Grizzly Man</a></em>, <em><a href="http://www.youtube.com/watch?v=MImYM87jOtU" style="outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">Encounters at the End of the World</a></em>) and 2000 Pulitzer Prize winner Cormack McCarthy (<em>The Crossing</em>, <em>The Road</em>, <em>No Country For Old Men</em>). Much of their discussion revolves around Herzog’s latest film, the 3-D documentary <a href="http://www.openculture.com/2011/02/cave_of_forgotten_dreams.html" style="outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;"><em>The Cave of Forgotten Dreams</em></a>, but they also address <a href="http://en.wikipedia.org/wiki/Population_bottleneck" style="outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">bottleneck theory</a>, <a href="http://en.wikipedia.org/wiki/Complex_systems" style="outline-color: initial; outline-style: none; outline-width: initial; text-decoration: none;">complexity science</a>, the history of painting, and the upcoming rise of the machines.</span></div>
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<a href="http://www.openculture.com/2011/04/werner_herzog_and_cormac_mccarthy.html" target="_blank">http://www.openculture.com/2011/04/werner_herzog_and_cormac_mccarthy.html</a><br />
<br />Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-62729382833478086952013-03-16T20:58:00.003-07:002013-05-14T22:30:11.186-07:00Foster by Claire Keegan.<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; text-align: center;">
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<strong><em><span style="color: #660000; font-family: Georgia, "Times New Roman", serif;">a novella by </span></em></strong></h2>
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<strong><em><span style="color: #660000; font-family: Georgia, "Times New Roman", serif; font-size: large;">Claire Keegan</span></em></strong></div>
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<strong><em><span style="color: #660000; font-family: Georgia, "Times New Roman", serif;">When it comes to dialogue, Keegan has oblique genius. </span></em></strong></div>
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<strong><em><span style="color: #660000; font-family: Georgia, "Times New Roman", serif;">With incident, </span></em></strong><strong><em><span style="color: #660000; font-family: Georgia, "Times New Roman", serif;">Keegan has an unerring sense of odd pathos. </span></em></strong></div>
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<strong><em><span style="color: #660000; font-family: Georgia, "Times New Roman", serif;">With conclusions, Keegan </span></em></strong><strong><em><span style="color: #660000; font-family: Georgia, "Times New Roman", serif;">is unprecedented ... </span></em></strong></div>
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<strong><em><span style="color: #660000; font-family: Georgia, "Times New Roman", serif;">Reading these stories is like coming upon work </span></em></strong></div>
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<span style="color: #660000;"><span style="font-family: Georgia, "Times New Roman", serif;"><strong><em>by Ann Beattie or Raymond Carver.</em></strong> </span></span><br />
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<span class="Apple-style-span" style="background-color: white; font-family: arial, helvetica, sans-serif; font-size: 14px; line-height: 20px;"><span class="Apple-style-span" style="color: #783f04;"><span style="color: black; font-family: Times New Roman; font-size: small;"><em> - <strong>L.A.Times</strong>.</em></span></span></span></div>
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<span style="color: black; font-family: Georgia, "Times New Roman", serif;">The 'oblique genius' referred to by the Los Angelus Times recalls the advice which John McGahern,</span><span class="Apple-style-span" style="background-color: white; line-height: 20px;"><span class="Apple-style-span" style="color: black; font-family: Georgia, "Times New Roman", serif;"> one of the acknowledged early influences on Keegan, gives when he writes that:</span></span><span class="Apple-style-span" style="background-color: white; line-height: 20px;"><span class="Apple-style-span"><br /></span></span></div>
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<span style="color: black;"><em><span class="Apple-style-span" style="background-color: white; line-height: 20px;"><span class="Apple-style-span" style="font-family: Georgia, "Times New Roman", serif;"><span style="color: #4c1130;"></span></span></span></em></span></div>
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<span style="color: black;"><em><span class="Apple-style-span" style="background-color: white; line-height: 20px;"><span class="Apple-style-span" style="font-family: Georgia, "Times New Roman", serif;"><span style="color: #4c1130;"><strong>The </strong></span></span></span><span class="Apple-style-span" style="background-color: white; line-height: 20px;"><span class="Apple-style-span" style="font-family: Georgia, "Times New Roman", serif;"><span style="color: #4c1130;"><strong>imagination demands that life be told slant </strong></span></span></span></em></span></div>
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<span style="color: black;"><em><span class="Apple-style-span" style="background-color: white; line-height: 20px;"><span class="Apple-style-span" style="font-family: Georgia, "Times New Roman", serif;"><span style="color: #4c1130;"><strong>because of its need of distance. </strong></span></span></span></em></span><br />
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<span class="Apple-style-span" style="background-color: white; line-height: 20px;"><span class="Apple-style-span"></span></span><span class="Apple-style-span" style="background-color: white; line-height: 20px;"><span class="Apple-style-span" style="color: black; font-family: Georgia, "Times New Roman", serif;">In <strong><em>Foster,</em></strong> Claire Keegan shows us the world through the slanted gaze of a young girl delivered for a while to stay with an unfamiliar aunt and uncle whom she knows only as the Kinsellas. It is an emotionally complex story situated in an unfamiliar and blinkered world, full of apprehension and innocence. Readers are better equipped to decode the tensions which surround the young narrator, but neither we nor the girl are ever completely freed from a state of heightened apprehension. We can see, even if the narrator cannot, how vulnerable she is and we can fully appreciate the nurturing influence which she has, by sheer chance, been delivered into. </span></span><br />
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<span class="Apple-style-span" style="background-color: white; line-height: 20px;"><span class="Apple-style-span" style="color: black; font-family: Georgia, "Times New Roman", serif;">Her own natural apprehension derives both from being sent to stay with a couple whom she barely knows and from the respect with which they treat her and each other. She is not use to seeing how a married couple can value each other equally or to being made feel that she herself is an important part of the household and that she can make a valuable contribution. Her sense of self worth and self belief are unexpectedly boosted by her aunt and uncle. She does not initially understand their history, or the malicious curiosity of their neighbours, but she learns over time and senses how tenuous their position is in the eyes of their jealous neighbours and in-laws. </span></span><br />
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<span style="font-family: Georgia, "Times New Roman", serif;">When Mrs Kinsella repeatedly warns the child that there are to be no secrets in their home, that – “where there’s a secret… there’s shame, and shame is something we can do without” – the reader senses that the Kinsellas might well be keeping something from the child. It is still a shock however when we do discover what the Kinsellas have been through. </span><br />
<span class="Apple-style-span"><span class="Apple-style-span" style="background-color: white; line-height: 20px;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;">Seven short chapters are enough to deliver an unforgettable view of the world through a child's eyes and Keegan's prose is taut and dense with premonitions. </span></span><span class="Apple-style-span" style="background-color: white; line-height: 20px;"><span class="Apple-style-span">Some cultural references and a brief mention of the 'Strikers' links this story to early 1980s Ireland, but the novella's theme and writing are relevant to readers everywhere. In </span></span></span></span><span style="font-family: Georgia, "Times New Roman", serif;"><span style="color: black;"><em><strong>Foster </strong></em>every phrase contributes more relevant information than we can know at a first reading and it is therefore an even more enjoyable novella on subsequent readings when we can track the foreshadowing and carefully placed suggestions more clearly. </span></span><br />
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<span style="color: black; font-family: Georgia, "Times New Roman", serif;">Claire Keegan's first collection of short stories <em><strong>Antarctica</strong></em>, won The Rooney Prize for Irish Literature and was a Los Angeles Times Book of the Year. Her stories have won The Olive Cook Award, The Kilkenny Prize, The Martin Healy Prize, The Macaulay Fellowship, The William Trevor Prize and the Francis MacManus Award. She was also a windgate Scholar.</span><br />
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<span style="color: black; font-family: Georgia, 'Times New Roman', serif;">Of her second book <strong><em>Walk the Blue Fields</em></strong>, Joseph O'Connor has written:</span><br />
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<span style="color: black; font-family: Georgia, 'Times New Roman', serif;"> 'This is one of the most exceptional collections of short stories to be published </span></div>
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<span style="color: black; font-family: Georgia, 'Times New Roman', serif;">by any Irish writer in recent years ... [ and will] surely place her where </span></div>
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<span style="color: black; font-family: Georgia, 'Times New Roman', serif;">she truly belongs: among the greatest practitioners of the </span></div>
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<span style="color: black; font-family: Georgia, 'Times New Roman', serif;"><b><i>'Among the finest stories written recently in English.' - </i></b>Observe</span><span style="color: black;">r</span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Keegan has mastered a style that echoes Seamus Heaney’s early poetry and the stories of William Trevor, but which has grown more enclosed and lyrical with each book. The dark humour of the early work has given way to a lush melancholy that has found its perfect length at 88 pages. - <b>Telegraph</b></i></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i><b>Review by: Ann Fallon. </b></i></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i><b>Claire </b></i></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i><b>Keegan's books can be purchased at Amazon.co.uk:</b></i></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><a href="http://www.amazon.co.uk/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=claire+keegan&rh=i%3Aaps%2Ck%3Aclaire+keegan" target="_blank">http://www.amazon.co.uk/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=claire+keegan&rh=i%3Aaps%2Ck%3Aclaire+keegan</a></span></div>
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and at Amazom.com</div>
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<a href="http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=Claire+Keegan" target="_blank">http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=Claire+Keegan</a></div>
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-55694615193970871742013-03-16T20:42:00.000-07:002013-04-19T04:24:15.346-07:00Afric McGlinchey The lucky star of hidden things<dum 000000485=""></dum><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="color: #274e13; font-family: Georgia, 'Times New Roman', serif; font-size: large;">Afric McGlinchey</span></span></h2>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Salmon Press, 2012.</span></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Afric McGlinchy's <strong><em>The lucky star of hidden things</em></strong> was published recently by Salmon Press. It is a strong confident collection, and the work of a mature artist She says that she 'writes for [herself] and has an ongoing love affair with words' and this is manifestly the case in <i>The Lucky Star of Hidden Things</i>. Her poems are often erotically charged and sensual, sometimes with an unexpected comic touch, or a sophisticated awareness of her changing family, and changing roles. Individual poems have been carefully placed to intimate the journey from Africa to Ireland and from the past to the present. From the opening poem '<b>Birthstone</b>' to the section entitled '<b>On the Road</b>' to the final section '<b>Leaning into Your World</b>' the collection documents both a biographical and and artistic journey. With this in mind I particularly loved the open reference to Molly Bloom in her final poem '<b>Yes</b>', which seems to promise an earthiness and an exciting creative output in the future. </span><br />
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Yes <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">(<i>after James Joyce</i>)<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">… yes and then<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I touched my finger to his lips<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">to stroke away the cider, <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and put it to mine<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and our tongues went plunging<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">- such a lush sweetness -<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">the grass so springy-soft on the cliff<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and the waves crashing below<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and I had to catch my breath<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and the night's perfume drowned<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that tang of lamb<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and I thought of my first kiss<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">- <i>what was his name? Johnny? - yes,</i><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">his tongue so unexpected,<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">wriggling like an eel,<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">but this time it felt different,<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and even his silence didn't matter,<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">when he stared, stared at my breasts, <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and I let my hair slip loose<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">like that Cape Town girl, <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and <i>you have moonlight in your eyes</i>, he said<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">so I took him in my hand<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and he whispered, would I<o:p></o:p></span></span></b></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><i><span lang="EN-US" style="color: #4f6228;">ma petite phalene</span></i></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;">, he said<o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and I thought I may as well,<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">as well him as another,<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and the sea was swirling below us in a froth<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">the sky gorgeous with stars<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and I suggested with my eyes<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">that he ask again<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and I knew he would <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and I wondered if I'd say yes<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and then I urged him down <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and he found his way<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">through all my layers<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and I might, I thought, yes<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I think I will<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">say yes</span></span></b><span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">.</span><span class="Apple-style-span" style="font-family: Times; font-size: 16pt;"><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The heat, language, scents and customs of Africa inform each poem in the opening section '<b>In my dreams I travel home to Africa</b>'. <b><i>Night Scents</i></b> in particular combines her experience of Africa with her experience of a broken relationship, acknowledging her own animal instincts and senses as well as her very human anxiety. </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><!--StartFragment--></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">Night Scents</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"></span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">I lie in bed,</span></b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">turn my nose</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">to the pillow</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">your memory,</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></span></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><div align="left" class="MsoNormal" style="margin-left: 36.0pt; mso-layout-grid-align: none; mso-pagination: none; text-align: left; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">as visible to my nostrils</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">as the night lamp.</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">Curtain ushers in butter -</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">soaked toast, wide-awake lily,</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">air before storm;</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">I sense my way</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">by pheromone,</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">as hallucinations spill:</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">saddle sweat, smack of salt, almond;</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">twang of diesel, turning milk;</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">from the boiler, burning fur</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">and I am back there -</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">steam-cracking tobacco </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">stalks me, steals my sleep.</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">In the garden</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">eucalyptus,</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">citrus, spice:</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">like notes on a piano,</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">twilight,</span></b><br />
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">closing the flower. </span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><o:p></o:p></span></b></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">But it is not just the earthy sensuality which enthrals and seduces her readers. In the first section of her book, McGlinchey's ability to examine the scars of her personal history allows a tension to slowly mount, so that when we encounter the exhilaration of '<b>Free running'</b>, her first poem set in Ireland, we too revel in the freedom which she describes. Having immersed her reader in the hot climate and the passionate and doomed relationship which finally interrupted her time in Africa, we can easily identify with the need to </span></div>
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="color: #274e13; font-family: Georgia, 'Times New Roman', serif;"><b> … dive, </b></span><br />
<span class="Apple-style-span" style="color: #274e13; font-family: Georgia, 'Times New Roman', serif;"><b> rotate mid-air, </b></span><br />
<span class="Apple-style-span" style="color: #274e13; font-family: Georgia, 'Times New Roman', serif;"><b><br /></b></span><span class="Apple-style-span" style="color: #274e13; font-family: Georgia, 'Times New Roman', serif;"><b> a feline, </b></span><br />
<span class="Apple-style-span" style="color: #274e13; font-family: Georgia, 'Times New Roman', serif;"><b> land, leap </b></span><br />
<span class="Apple-style-span" style="color: #274e13; font-family: Georgia, 'Times New Roman', serif;"><b> across bonnets</b></span><br />
<span class="Apple-style-span" style="color: #274e13; font-family: Georgia, 'Times New Roman', serif;"><b><br /></b></span><span class="Apple-style-span" style="color: #274e13; font-family: Georgia, 'Times New Roman', serif;"><b> side-spin the lamp post</b></span><br />
<span class="Apple-style-span" style="color: #274e13; font-family: Georgia, 'Times New Roman', serif;"><b> vault park railings</b></span><br />
<span class="Apple-style-span" style="color: #274e13; font-family: Georgia, 'Times New Roman', serif;"><b> jack-rabbit-sprint</b></span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The central line of this poem reads '<b><span class="Apple-style-span" style="color: #274e13;">but I'm metamorphic -'</span></b> and catches beautifully the change of pace and of perspective which she exhibits in the second section of the book. Her ability to orchestrate the emotional reaction to the collection seems very sure footed. None of the poems jarred or seemed out of place and it is difficult to believe that this is a debut collection. </span><br />
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Jennifer Matthews described McGlinchey's work as 'elemental', 'utterly sensual' and 'raw with emotional honesty'. The poem<b> Girl without a horse</b> for example depicts an almost mythical desire in a young girl's life. In only fifteen short lines she sketches a scene which indicates the importance and passion of the girl's decision. </span><br />
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">Girl without a horse</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">(for Micaela)</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">She searches country roads</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">until she finds one -</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">beyond the long-roped goat.</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">He is unbridled wildness,</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">the shag of his white coat</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">brazened with muck.</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">Her hand opens</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">with an apple core</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">invitation.</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">He shivers, snorts,</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">bends to the scent.</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">then,</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">blood-warmed attention</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">as she steals to the feast</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Times;"><o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; font-family: Georgia;">of his back.<span class="Apple-style-span" style="font-size: 16pt;"><o:p></o:p></span></span></b></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The powerful image of the girl feast[ing] on the experience of being on the horse's back makes it easy, on an initial reading, to miss the 'apple core / invitation' and the echoes of forbidden fruit and so re-reading the work becomes both essential and a pleasure. </span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">This collection shows McGlinchey to be a strong, vibrant and exciting new voice in the Irish literary landscape and I look forward to reading more of her work in the future.</span></div>
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<a href="http://3.bp.blogspot.com/-mrRqxyhvcHM/UUU6HAzOFPI/AAAAAAAAAZk/DqRnC3eYXHA/s1600/Screen+shot+2013-03-17+at+03.35.29.png" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-mrRqxyhvcHM/UUU6HAzOFPI/AAAAAAAAAZk/DqRnC3eYXHA/s320/Screen+shot+2013-03-17+at+03.35.29.png" width="218" /></a><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">A Hennessy Poetry Award winner, <span style="font-weight: bold;">Afric McGlinchey</span> grew up in Ireland and Africa. She was also a Pushcart nominee, and highly commended in the Magma, Joy of Sex, and Dromineer poetry competitions in 2012. She is a freelance book editor and reviewer, and tutors poetry online at <a href="http://www.africmcglinchey.com/" target="_blank">www.africmcglinchey.com</a><span style="font-style: italic;"> Her début poetry collection, The lucky star of hidden things, was published in 2012 by Salmon. Afric lives in West Cork, Ireland.</span></span></div>
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Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0tag:blogger.com,1999:blog-3260639840088517229.post-36579262239508230572013-03-16T19:05:00.004-07:002013-04-06T04:45:55.136-07:00Michael Longley Collected Poems<br />
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<span class="Apple-style-span" style="color: #0c343d;"><b><span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span class="Apple-style-span" style="font-size: large;">Michael Longley</span></span></span></b></span></h2>
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<span class="Apple-style-span" style="color: #0c343d;"><b><span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /> </span></span></b><b style="font-size: xx-large;"><span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><i>Collected Poems</i></span></span></b></span></h2>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Jonathan Cape, 2006.<o:p></o:p></span></span></b></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b>Reviewed by Ann Fallon.</b><o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="mso-ansi-language: EN-IE;">Michael Longley</span></b><span lang="EN-IE" style="mso-ansi-language: EN-IE;"> has been described by Seamus Heaney
as ‘<i style="mso-bidi-font-style: normal;">a keeper of the artistic estate, a
custodian of griefs and wonders’</i>. He is a central figure in the
contemporary Irish poetic landscape and has created a body of work which
ensures his importance in the continued evolution of that landscape.<span style="mso-spacerun: yes;"> </span>He is a Fellow of the Royal Society of
Literature and a recipient of the Queen’s Gold Medal for Poetry and the Wilfred
Owen Award.<span style="mso-spacerun: yes;"> </span>He has won the Whitbread
Prize, the T S Eliot Prize, the Hawthornden Prize, the Irish Times Irish
Literature Prize for Poetry and the Librex Montale Prize.<span style="mso-spacerun: yes;"> </span>We took a look at his <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Collected Poems</i></b>, first
published in 2006, and the most comprehensive introduction to his work.<o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Longley is not the only Northern Irish poet who
deals with the borderlands delineating war and peace; past and future; community
and individuality; abstract concepts and material realities, but he does so in
a singular way. Underlying his approach to the territory between these concepts
is a notion of what he calls ‘the fundamental interconnectedness of all
things’. Most of his work was published against the background of the North’s
‘troubles’ and in such a context of social conflict and violence, the Whitmanesque
idea of the connectedness of all things has the effect of refuting political
jingoism and propaganda which generally aims to demonise an enemy. He recognises
this interconnectedness as an underlying, non-linear and highly sensitive flux.
It draws his attention from his immediate family and friends, to his neighbours
and wider community until his townland includes ‘Carrigskweewaun and Central
Park’. It takes him from fleeting moments in the present, to the ancient past
and tentatively indicates a possible direction for the future.<span style="mso-spacerun: yes;"> </span>He expresses this sense of interconnectedness
in classical analogies, in terms of biology and ecology and also in terms of
mystery. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Longley casts an eye on particular details within
his social context, rather than on the inherited concepts which generally
inform the historical, literary and political landscape in Ireland. By using
lists and catalogues and by paying close attention to what is unique and
individual in his environment, he communicates with the more instinctive elements
of human nature and gives us what has been called ‘privileged access to lower
levels of raw information’. Such raw information forces us to pay attention to
the world itself, rather than to our preconceptions of that world and
exemplifies what William Empson calls poetry’s ability to ‘impos[e] its own
assumptions’ and to remain ‘independent of the mental habits of the reader’. Identifying,
listing and dwelling on these connections is an act of imagination and of love,
while for Longley hate and destruction seem to abide in a ‘no-man’s land’ of
abstract concepts and inflated rhetoric.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">He begins his <i style="mso-bidi-font-style: normal;">Collected Poems</i> with a celebration of his marriage, the book is
infused with over one hundred and thirty dedications and references to
particular friends and it ends with two poems which welcome and invite his
grandsons into his life. The importance of family, friends and community and of
the physical incarnation as well as the mystery of love flows throughout the
book and is openly expressed in, but not confined to his love poems. <o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Having ‘read Homer at school and [been] taught
by W. B. Stanford, a great Homeric scholar at Trinity’ it was natural that the
relevance of the classics to present day situations would be obvious to him.
However, he writes that <o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">re-acquaintance with the <i style="mso-bidi-font-style: normal;">Odyssey</i>
in my late forties allowed me to give expression to sorrows… Moments in the <i style="mso-bidi-font-style: normal;">Odyssey</i> chimed with emotions that I
would have found almost impossible to deal with otherwise: heartbreak, paranoia,
bitterness, hatred, fear. Homer gave me a new emotional and psychological
vocabulary. <o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Longley’s classical references allow his
readers to integrate or re-integrate particular stories into our experience and
this gives us an alternative way of visualising the future. Recent evidence
suggests that ‘projecting the future may not be the [only] … function of
memory, but it certainly is one of its primary functions’. What<b style="mso-bidi-font-weight: normal;"> </b>we are able and what we consciously choose
to remember therefore determines what we can imagine for the future. Longley
integrates the stories of the past with events from his own private life and
leaves the possibility that they are also relevant to a wider community.<span style="mso-tab-count: 2;"> </span></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span style="mso-tab-count: 2;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Through understatement, a key feature of his politically
sensitive poems, and through his use of classical reference Longley’s work
provides a neutral ground in which mediation can take place, if it is sought. It
is only the name of the poem ‘<b style="mso-bidi-font-weight: normal;">Ceasefire’</b>
for example which links it to the conflict of Northern Ireland. In it he moves
from establishing the common humanity and dignity of opposing parties. <o:p></o:p></span></span><br />
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span>
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> <b> Ceasefire</b></span></span><br />
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Put in mind of his own father and moved to tears<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Achilles took him by the hand and pushed the old<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">King gently away, but Priam curled up at his feet and<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Wept with him until their sadness filled the building.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Taking Hector’s corpse into his own hands Achilles<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Made sure it was washed and, for the old king’s sake,<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Laid out in uniform, ready for Priam to carry<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Wrapped like a present home to Troy at daybreak.<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">When they had eaten together, it pleased them both<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">To stare at each other’s beauty as lovers might,<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Achilles built like a god, Priam good-looking still <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And full of conversation, who earlier had sighed:<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I get down on my knees and do what must be done<o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And kiss Achilles hand, the killer of my son. <o:p></o:p></span></span></b></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span lang="EN-US"> </span><span lang="EN-IE" style="mso-ansi-language: EN-IE;"><o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Although Achilles has killed Priam’s son,
Longley allows that the sadness of both men ‘filled the building’. Their mutual
recognition, ‘<b style="mso-bidi-font-weight: normal;"><span style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;">Achilles built like a god, Priam
good-looking still / And full of conversation’</span></b> is the opposite of
the kind of jingoism and propaganda which demonises the enemy. This recognition
then allows both parties to ‘<b style="mso-bidi-font-weight: normal;"><span style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;">do what must be
done’</span></b> to move beyond war and injustice.<b style="mso-bidi-font-weight: normal;"> </b>Priam’s unbearable suffering is somehow borne and the result for him
is the return of Hector’s body for his funeral rites. The community benefits
also - and Longley’s readers are now included in this community - with the recognition
of how much fellow humans have suffered and yet how they can move beyond that.
The territory of the past, pre-Christian and Mediterranean is recognised in
this poem as part of the continuum and literary history<span style="mso-spacerun: yes;"> </span>which ‘provides both touchstones of
excellence … and also stepping stones’ to the present. It requires the active
participation of the reader to draw connections but Longley allows for the
creative imagination of his readers which can ‘discover patterns of human
experience in literature remote in time and location which can have a cogent
relevance for the here and now’. ‘<b style="mso-bidi-font-weight: normal;">Ceasefire’</b>
shows how the stories of the past make room for a ‘new and psychological
vocabulary’. <o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The distance which the classics provide also
allows Longley to discuss hatred and violence in a measured way.<span style="mso-spacerun: yes;"> </span>Where ‘to write carelessly and
self-indulgently in a place like Northern Ireland could have terrible
consequences….[Longley tries to remain] mindful of how much some
fellow-citizens have suffered’. This important socio-political role for the
arts and for imagination is expressed by the philosopher Richard Kearney who
writes that<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></span></div>
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<i style="mso-bidi-font-style: normal;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">it is the new language of the artistic imagination which, in turn,
can summon politicians to envision our society in new ways. If it is indeed the
business of imagination to make politics distrust itself – reminding it that
its principles are not literal facts but constructs of imagination – it is also
its business to encourage politics to remake itself by remaking its images of
the good life.<o:p></o:p></span></span></i></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">But Longley does not take his references purely
from the ancient past. There are also obvious connections between Anglo-Irish
poets such as Yeats and MacNeice. His interest in Yeats dates back to his
school days ‘when he had requested as a third-form prize for English the <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Collected
Yeats</i>’</b>. Terence Browne notes that ‘Longley’s according poetry a kind of
sacral numen in a secular world may also have its source in this early reading
of Yeats’. <o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Longley’s innate awareness of the role of the
imagination in shaping a new political reality also seems to echo, but in a
more democratic and less feudal way, Yeats’s views on the responsibility of the
artist. He also shares with Yeats an ability to incorporate specific Irish place
names into their poems and weigh ‘a place name in his hand, like a magical
talisman, in a distinctly Yeatsian fashion’. Yeats’s desire to provide a
unified vision and heritage for both Catholic and Protestant in Ireland lead
him to focus on the pre-Christian heroes of Irish mythology. Longley’s frequent
references to Homer, the <i style="mso-bidi-font-style: normal;">Odyssey </i>and
the classics are similarly pre-Christian and therefore potentially unifying. <o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span style="mso-tab-count: 2;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The shape of the <i style="mso-bidi-font-style: normal;">Collected Poems</i>, as well as the dedications throughout and
individual poems themselves, shows that Longley is very sensitive to the idea
of<span style="mso-spacerun: yes;"> </span>creating community. His generous
dedications and inclusions of family, friends, his sensitive remembrance of the
victims of violence, as well as his use of Gaelic place names and of the
distinctly English concepts of ‘king and queen’ show exactly how it is possible
to imaginatively create and integrate a community. <o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The first poem in the <i style="mso-bidi-font-style: normal;">Collected Poems</i> is ‘<b style="mso-bidi-font-weight: normal;">Epithalamion’</b>,
the celebration of his marriage, and from this personal experience the <i style="mso-bidi-font-style: normal;">Collected Poems</i> imaginatively reaches further
out out until he can conceive of ‘a townland / That encloses Carrigskeewaun and
Central Park.’ <o:p></o:p></span></span></div>
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<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">He recognises interconnectedness as a moving,
changing flux of life and expresses it in terms of biology, and his sensitivity
to nature helps to highlight the impact of non-linear connections and
complexities of small events on the wider world. This automatically reflects
back on the importance of small gestures in the human community and allows for
the possibility that a single person can make a difference.<span style="mso-spacerun: yes;"> </span>His unanswered question in ‘<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Autumn
Lady’s Tresses’</i></b>, is about the actual connections between different
elements. Between <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">‘the solitary swan on Dooaghtry Lake’ <o:p></o:p></span></span></b></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">to the <b><o:p></o:p></b></span></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">‘dolphins whose waves within waves propel <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">You and me along the strand’ <o:p></o:p></span></span></b></div>
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<br /></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">to the <b><o:p></o:p></b></span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">‘Cowrie shells for decorating your sandy hair?’ <o:p></o:p></span></span></b></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The connections, he implies, are there but it
takes imagination to trace them, just as it takes imagination to trace the
common humanity between warring factions.<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Longley’s poetry displays an awareness of the
importance of the list or catalogue, especially where there has been a breakdown
of natural relationships. From ‘<b style="mso-bidi-font-weight: normal;">Persephone’</b>
in his first collection which envisages the winter preparations of the mole,
swallows, bat, squirrel, weasel and ferret, the stoat and fox to the listed
delights which he will share with his grandson in Carrigskeewaun in ‘<b style="mso-bidi-font-weight: normal;">The Leveret’</b>, the penultimate poem of
the <i style="mso-bidi-font-style: normal;">Collected Poems</i>, Longley
instinctively reaches for the list to try to capture the full importance of the
present moment. Psychologists tell us that ‘Normal people’ suffer from
inattentional blindness which means that they ‘don’t consciously see any object
unless they are paying direct, focused attention to that object’. Michael
Longley’s lists force us to stand back from general conceptualising and to see
more of the details of the actual world.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">In his poem ‘Badger’ for example he makes us
instantly aware of the physicality of the animal as he pushes <b style="mso-bidi-font-weight: normal;"><span style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;">‘the wedge of his body / Between cromlech and stone
circle’</span></b>. He is differentiated from other animals, and is ‘<b style="mso-bidi-font-weight: normal;"><span style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;">not like the fox</span></b>’ or the hare. He
doesn’t just represent nature, he is a particular expression within it.<span style="mso-spacerun: yes;"> </span>This difference, underlying the entire poem,
between a concept and a concrete reality occurs throughout Longley’s poetry. He
does not ignore the concepts through which we see the world but he manages to
put the importance of individuals ahead of these concepts.<o:p></o:p></span></span></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The mention of the ‘cromlech and stone circle’ seems
to be a reminder of how far mankind has travelled, but the cultural ratcheting which
springs from our desire to control the environment and which has brought us
from stone circles to disused mineshafts to skyscrapers, is just another
obstacle to be negotiated by the badger. He pushes his body into the earth and
between man made structures. <span style="mso-spacerun: yes;"> </span>Without our
desire for control of the environment he lives in ‘the depths of the hill’ and continues
with the important work of ‘manag[ing] the earth with his paws’. The badger’s
management of the earth provides a new take on the<span style="mso-spacerun: yes;"> </span>traditional argument of colonists over the
centuries who have justified their claim to land because of <span style="mso-spacerun: yes;"> </span>their superior management of it. For the
badger, nothing is wasted, ‘mineshafts’ are once again used, and in the natural
order of things his own body will add to the organic matter of the earth when
he returns underground to die. The violent intervention in section three where
he is pulled out by the snout is described but not commented on. As an observer
of life and death Longley draws our attention and leaves us to draw our own
conclusions.<o:p></o:p></span></span></div>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The poem also contains a list of flowers and
plants which the badger eats, again paying attention to the particulars of the
environment and attention to particulars is a shield against generalisations,
and ultimately against dogma.<span style="mso-spacerun: yes;"> </span>In the
poem ‘<b style="mso-bidi-font-weight: normal;">The Ice-cream Man</b>’ the list
itself becomes a healing device which soothes his daughter’s shock at the
murder of the local ice-cream man. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I named for you all the wild flowers of the Burren<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">I had seen in one day: thyme, valerian, loosestrife,<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Meadowsweet, tway blade, crowfoot, ling, angelica,<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Herb Robert, marjoram, cow parsley, sundew, vetch,<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Mountain ravens, wood sage, ragged robin, stitchwort,<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;">Yarrow, lady’s bedstraw, bindweed, bog pimpernel.</span></b><span lang="EN-IE" style="mso-ansi-language: EN-IE;"> </span><b style="mso-bidi-font-weight: normal;"><span lang="EN-IE"><o:p></o:p></span></b></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Naming the particular flowers uncoils a
lifeline, back from the murder, to the time when she would rhyme off ice-cream
flavours, a time of normality for the child. The list of twenty-one flowers is
unexpected and becomes an insistent demand that attention be paid to these
small things which can still be counted and counted upon. By the end of the
poem the list itself has become both a wreath to commemorate the dead and an
aid to allow the living to continue. There is also a slight biblical echo of a
responsibility which has been given to man and subsequently forgotten, to name
and also to care for the creatures of the earth. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">In ‘<b style="mso-bidi-font-weight: normal;">Master
of Ceremonies’</b> Longley shows the ongoing effects of a breakdown in
connection between family members, between warring nations and even on a
physical level, between parts of the body. Longley’s grandfather ‘<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;">Had thrown out
his only son, my sad retarded uncle’</span></i></b>, and later demoted him in
hindsight from son to nephew. This family rupture is seen against the
background of the international breakdown of World War I, where the uncle <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span><b style="mso-bidi-font-weight: normal;"><span style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;">Went over the top slowly behind the stretcher
parties, <o:p></o:p></span></b></span></span></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span style="mso-tab-count: 1;"> </span>And,
as park attendant where all hell had broken loose, <o:p></o:p></span></span></b></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-IE" style="color: #4f6228; mso-ansi-language: EN-IE; mso-themecolor: accent3; mso-themeshade: 128;"><span style="mso-tab-count: 1;"> </span>Collected
littered limbs until his sack was heavy.</span></b><span lang="EN-IE" style="mso-ansi-language: EN-IE;"> <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-IE" style="mso-ansi-language: EN-IE;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The horror of the disconnected limbs and the
warring nations is shocking but is something which can be conceptualised and
placed aside. Less easy to forget is the personal story of the grandfather who
continues to regard Lionel as a ‘nephew’ long after Lionel’s head ‘got blown
off in No Man’s Land’. As a poet living amidst civil violence for decades,
Longley rejects the possibility that death will be read in the light of ‘one
dominant inheritance – the blood sacrifice and the hope of eventual freedom
rooted in struggle’. ‘<b style="mso-bidi-font-weight: normal;">Master of
Ceremonies’</b> shows his family’s personal connection with war and the
dehumanising effects of a breakdown in community. It also allows him to connect
to other victims, in the acknowledgement of the loss to humanity which war and
family breakdown represents. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">His love poems seem
to offer welcome moments of personal regeneration and provide an oasis from the
conflicts of his life in Northern Ireland. In ‘<b style="mso-bidi-font-weight: normal;">An Amish Rug</b>’ there is a sense of longing for simplicity, a
different way of life where <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">…a
one-room schoolhouse were all we knew <o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And
our clothes were black, our underclothes black,<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Marriage
a horse and buggy going to church<o:p></o:p></span></span></b></div>
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<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;">And
the children silhouettes in a snowy field.</span></b><span lang="EN-US"> <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Of course this
idyll can only remain a dream but Longley wants to share this dream of a simple
life with his wife. Longley questions the mythology of passion in ‘<b style="mso-bidi-font-weight: normal;">The Linen Industry’</b> asking<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 72pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">What’s
passion but a battering of stubborn stalks, <o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 72pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">then
a gentle combing out of fibers like hair<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 72pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And
a weaving of these into christening robes,<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 72pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;">Into
garments for a marriage or funeral?</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">But in deflating
the early moments of pleasure he brings in the story of a shared lifetime, and
ultimately of the whole stretch of human existence. He projects a fragile
happiness and allows for the continued awareness of the wonder of his lover. He
becomes ‘shy of [her] breasts in the presence of death’ as if he were Adam seeing
Eve for the first time in a lapsed world. The harvested flax and the white
linen petticoats become a symbol of the life ahead and the work it will involve
while the bow on her bodice becomes ‘a butterfly attending the embroidered
flowers’ showing the rewards and the moments of inspiration which he hopes
their work will bring. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Longley’s
metaphor of the bow becoming a butterfly, is a symbol for the imagination, for poetry
and for the protean nature of language. It quietly hints that creation is
ongoing, fragile and partly dependent on the imagination of individuals. It also allows that this delicate act of imagination can change the emotional climate of the planet. It acknowledges the shared vocabulary which a lifetime with his partner
yields and which he calls elsewhere ‘a sodality of the imagination’. It<span style="mso-spacerun: yes;"> </span>celebrates the subterranean roots which play
such a large part in the interconnectedness of things. In his poem ‘<b style="mso-bidi-font-weight: normal;">Laertes’</b> it is this shared vocabulary which
enables the despondent father to recognize his son. Instead of blurting
everything out Odysseus calls on shared memories <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">of a
childhood spent traipsing after his father <o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; margin-left: 36pt; margin-right: 2cm; margin-top: 0cm; text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">And
asking for everything he saw. <o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Laertes’s
recognition of his lost son is then swift and unquestioned, overcoming and
decommissioning fifteen years of absence. The absence has not resulted in an
inability to communicate and this explains why the need for a list or catalogue
of facts is obsolete. Their solidarity has not been broken and they can rely on
natural connections without the need for facts and figures.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-right: 2cm; text-align: justify;">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Longley’s <i style="mso-bidi-font-style: normal;">Collected Poems</i> melt, rather than
shatter, what is frozen inside our skulls. They work more like the ‘<b style="mso-bidi-font-weight: normal;"><span style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;">contrapuntal runnel’</span></b> which he wishes his
words to be in ‘<b style="mso-bidi-font-weight: normal;">The Leveret’</b> and
reflects the possibility that there are enough harsh voices and that to be
heard it is sometimes necessary to whisper. He whispers about a no man’s land
of abstractions and ideologies in which human life and the environment can
become worthless. His family’s experiences in both world wars introduce this
idea showing an unmanaged area full of the ‘littered limbs’ and the severed
head of his uncle Lionel in ‘<b style="mso-bidi-font-weight: normal;">Master of
Ceremonies’</b>. The idea broadens in the poem '<b>Pine Marten</b>' to contain the <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">stuffed
pine marten in the hotel corridor<o:p></o:p></span></span></b></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span style="mso-spacerun: yes;"> </span>who is <o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">making
it across No Man’s Land where <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">A
patrol of gamekeepers keeps missing him <o:p></o:p></span></span></b></div>
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<br /></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">In the poem ‘<b style="mso-bidi-font-weight: normal;">Harmonica’</b>, <o:p></o:p></span></span><br />
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> ‘<b>A tommy drops
his harmonica in No Man’s Land</b>’ <o:p></o:p></span></span><br />
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">and the movement
of our souls which ‘<b>are air</b>’ gathers enough force to play <o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"> ‘<b>an orchestra of
harmonicas’ in this waste land. </b><o:p></o:p></span></span><br />
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b><br /></b></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">This movement of
souls is articulated through art which tries to draw our attention back to the
incarnated world and to the mystery behind it.<span style="mso-spacerun: yes;">
</span>In ‘<b>The Wren</b>’ he acknowledges that </span></span><br />
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span>
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><span style="mso-bidi-font-weight: normal;"><span style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"> <b>We sleepwalk
around a townland whooper swans </b></span></span></span></span><br />
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"> from the tundra remember, and the Saharan </span></b></span></span><br />
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;"><b style="mso-bidi-font-weight: normal;"><span style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;"> Wheatear</span></b>. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">Michael
Longley’s <i style="mso-bidi-font-style: normal;">Collected Poems</i> records ‘all
but nine of the poems in [his] eight volumes’ dating from 1969 to 2004, as well
as two new poems as an epilogue. It deals not only with his experiences and
interests during those thirty-five years from <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">No Continuing City</i> </b>to<b style="mso-bidi-font-weight: normal;"> <i style="mso-bidi-font-style: normal;">Snow
Water</i>,</b> but also with experiences and events of his earlier life, notably
his father’s life and death, as well as his hopes for the future, one of which
is noted in the final poem ‘<b style="mso-bidi-font-weight: normal;">The Wren’</b>,
that he be imprinted on the instinctual memories of his grandsons, that he ‘<b style="mso-bidi-font-weight: normal;"><span style="color: #4f6228; mso-themecolor: accent3; mso-themeshade: 128;">burble under [their] siesta / Like a contrapuntal
runnel’</span></b>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif;">The voice which
emerges from these poems is singular, considered, understated and respectful of
life. Each of the three hundred plus pages of the <i>Collected Poems</i> presents a continuous counterpoint against the
babble of popular rhetoric which is prone to using abstract principles in its
justification of intolerance. His singular voice whispers through each of the
poems reaffirming the importance of imagination in building community, the
necessity of drawing attention back to the small details of creation when
relations have broken down and the dignity with which it is possible to face
the future. It defines humanity as beings capable of community and states that
this is both a reassurance and a responsibility. </span></span><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: 10pt;"><o:p></o:p></span></div>
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<b><span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Bibliography:<o:p></o:p></span></span></b></div>
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<br /></div>
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<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Brearton, Fran <i style="mso-bidi-font-style: normal;">Reading Michael
Longley</i> (Northumberland: Bloodaxe Books, 2006)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoFootnoteText">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Brearton, Fran ‘Walking Forwards into the Past: An Interview with
Michael Longley’. <i style="mso-bidi-font-style: normal;">Irish Studies</i>, No.
18, Spring 1997<o:p></o:p></span></span></div>
<div class="MsoFootnoteText">
<br /></div>
<div class="MsoFootnoteText">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Terence Browne ‘Michael Longley and the Irish Poetic Tradition’ <i style="mso-bidi-font-style: normal;">The Poetry of Michael Longley</i><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Peacock, Alan J. and Kathleen Devine eds., Ulster Editions and
Monographs: 10 (Bucks: Colin Smythe, 2000).<o:p></o:p></span></span></div>
<div class="MsoFootnoteText">
<br /></div>
<div class="MsoFootnoteText">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Buber, Martin ‘The Good and Evil Imagination’, in <i style="mso-bidi-font-style: normal;">Good and Evil</i> (New York: Scribner, 1952) pp. 93-97<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Dawe, Gerald <i style="mso-bidi-font-style: normal;">Against Piety: Essays
in Irish Poetry</i> (Belfast: Lagan Press, 1995)<o:p></o:p></span></span></div>
<div class="MsoFootnoteText">
<br /></div>
<div class="MsoFootnoteText">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">William Empson <i style="mso-bidi-font-style: normal;">Seven Types of
Ambiguity</i><span style="mso-spacerun: yes;"> </span>(London: Penguin Books,
1961) <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Grandin, Temple & Catherine <i style="mso-bidi-font-style: normal;">Johnson
Animals in Translation: Using the Mysteries of Autism to Decode Animal
Behaviour</i> (London: Bloomsbury, 2005)<o:p></o:p></span></span></div>
<div class="MsoFootnoteText">
<br /></div>
<div class="MsoFootnoteText">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><i style="mso-bidi-font-style: normal;"><span lang="EN-US">Isaacs, Alan, John Daintith, Elizabeth
Martin eds. A </span></i><i style="mso-bidi-font-style: normal;"><span lang="EN-IE">Dictionary of
Science</span></i><span lang="EN-IE"> (Oxford: Oxford University Press, 2006)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Kavanagh, Patrick ‘Hospital’ in <i style="mso-bidi-font-style: normal;">Modern
Irish Poetry: An Anthology</i> ed. Patrick Crotty (Belfast: Blackstaff Press,
2003)<o:p></o:p></span></span></div>
<div class="MsoFootnoteText">
<br /></div>
<div class="MsoFootnoteText">
<span lang="EN-US"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Richard
Kearney <i style="mso-bidi-font-style: normal;">Poetics of Imagining: Modern to
Post-modern</i> (Edinburgh: Edinburgh University Press, 1998)<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Kitto, H. D. F. <i style="mso-bidi-font-style: normal;">Greek Tragedy: A
Literary Study</i> (London, Routledge, 2002)<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Longley, Michael <i style="mso-bidi-font-style: normal;">Collected Poems </i>(London:
Jonathan Cape, 2006)<o:p></o:p></span></span></div>
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<div class="MsoNormal">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Longley, Michael <i style="mso-bidi-font-style: normal;">Tuppeny Stung:
Autobiographical Chapters</i> (Belfast: Lagan Press, 1994) <o:p></o:p></span></span></div>
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<div class="MsoFootnoteText">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Marshall, Jessica ‘Future Recall’ <i style="mso-bidi-font-style: normal;">New
Scientist</i> Vol. 193 No. 2596 (London: Reed Business Information, 24<sup>th</sup>
March 2007) <o:p></o:p></span></span></div>
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<div class="MsoNormal">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">McDonald, Peter ‘Au Revoir Oeuvre: An Interview with Michael Longley’ <o:p></o:p></span></span></div>
<div class="MsoNormal">
<span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;"><span lang="EN-IE"><a href="http://www.poetrymagazines.org.uk/">www.poetrymagazines.org.uk</a>
</span><b style="mso-bidi-font-weight: normal;"><span lang="EN-IE"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></b></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Peacock, Alan J. and Kathleen Devine eds., <i style="mso-bidi-font-style: normal;">The Poetry of Michael Longley</i>, Ulster Editions and Monographs: 10
(Bucks: Colin Smythe, 2000).<o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Snyder A. W. and D. J. Mitchell ‘Is Integer Arithmetic Fundamental to
Mental Processing?: The Mind’s Secret Arithmetic’ <i style="mso-bidi-font-style: normal;">Proceedings of the Royal Society</i>, London, B 266 (1999) pp. 587-92<o:p></o:p></span></span></div>
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<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Steiner, George <i style="mso-bidi-font-style: normal;">Language and
Silence </i>(Harmondsworth: Penguin, 1979)<o:p></o:p></span></span></div>
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<br /></div>
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<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">Steiner, George <i style="mso-bidi-font-style: normal;">Errata: An
Examined Life </i>(London: Weidenfeld & Nicholson, 1997)<o:p></o:p></span></span></div>
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<div class="MsoFootnoteText">
<span lang="EN-IE"><span class="Apple-style-span" style="font-family: Georgia, 'Times New Roman', serif; font-size: x-small;">W. B. Yeats <i>W. B. Yeats: The Major
Works</i> (London: Oxford University Press, 2001)</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: 11pt;"><o:p></o:p></span></span></div>
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<!--EndFragment--><br />Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com2tag:blogger.com,1999:blog-3260639840088517229.post-88778234635046921312013-03-15T04:38:00.000-07:002013-03-17T08:34:15.838-07:00Before Vanishing - four plays by Samuel Beckett. <div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-lu2gVhYHN00/UUWRZ50UJNI/AAAAAAAAAas/b5zStU5LX38/s1600/Screen+shot+2011-06-11+at+22.39.29.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-lu2gVhYHN00/UUWRZ50UJNI/AAAAAAAAAas/b5zStU5LX38/s320/Screen+shot+2011-06-11+at+22.39.29.png" width="219" /></a></div>
<h2 style="text-align: center;">
<span style="color: #660000; font-size: x-large;">Before Vanishing </span></h2>
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four pieces by </h2>
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<span style="color: #660000;">Samuel Beckett </span></h2>
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at </h2>
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(The New Theatre, Essex St) </h2>
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Until March 16th, 2013.</h2>
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<a href="http://www.thenewtheatre.com/tnt_php/scripts/page/show.php?show_id=111&gi_sn=5142e450016e9%7C0" target="_blank"><span style="font-size: x-small;">http://www.thenewtheatre.com/tnt_php/scripts/page/show.php?show_id=111&gi_sn=5142e450016e9%7C0</span></a></div>
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<span style="font-family: Georgia, "Times New Roman", serif;"><strong><em>Before Vanishing</em></strong>, made up of four of Beckett's short pieces for theatre, and a fifth piece, a translation into Irish of <i>Come and Go</i>, is well worth catching before it does vanish. Including <em><strong>Ohio Impromptu, Footfalls, That Time</strong> </em>and <strong><em>Come and Go,</em></strong> the presentation each piece by <strong>Mouth On Fire Theatre Company</strong> was superb. </span></div>
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<span style="font-family: Georgia, "Times New Roman", serif;">Beckett is always fascinating to hear, but what came across to me about these pieces is how visually striking they are. Everything in this production contributes to series of unforgettable images. In <em><strong>Ohio Impromptu</strong> </em><strong>Marcus Lamb</strong> and <strong>Nick Devlin</strong> are almost exact images of each other as one reads and the other listens to a story of loss and regret. The two actors, with long grey hair and dark costumes sit at a brightly lit table in an otherwise totally dark space. It becomes obvious that Reader and Listener are two aspects of the same person in much the same way as Krapp (in another play by Beckett coming soon to Dublin) is presented as a voice from his past on tape and, bodily, the wasted man as he is now. This is a motif Beckett uses again and again throughout his work. In this beautiful presentation, it is a moment on stage that stays with audience for a long time.</span></div>
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<span style="font-family: Georgia, "Times New Roman", serif;"><strong>Melissa Nolan</strong> plays May in <em><strong>Footfalls</strong></em> and she brings to the part an intensity that will not allow us to take our eyes off her. Her costume, her movement, and the quality of her voice work together in what is a mesmerising performance. <strong>Geraldine Plunkett's</strong> voice as the unseen mother helps to make this a haunting piece of work. I must mention the lighting in <em>Footfalls. </em>It is one of Beckett's most difficult pieces to light because, in this play in particular, lighting adds an essential ingredient to the meaning of the play. I was very impressed with the production company here, <b>Mouth On Fire</b>, who provided exactly the effect which Beckett wanted.</span><br />
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<span style="font-family: Georgia, "Times New Roman", serif;"><strong>Marcus Lamb</strong> is the disembodied face that floats above us in <em><strong>That Time</strong>. </em>Visually stark, it can take the audience a moment to make sense of what they are seeing. As we watch we realise that we are looking down upon a man on his deathbed, who is gasping for his last breath, or 'last but one, but one'. We hear voices trying to put together several repeated strands of a story and as he fades the voices fade too, eventually vanishing into the darkness and silence which he came from.</span></div>
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<span style="font-family: Georgia, "Times New Roman", serif;"><em><strong>Come And Go</strong></em> is one of Beckett's more accessible short works. It is carefully choreographed by Beckett and director Cathal Quinn, who did a wonderful job in all the pieces, is particularly good here. So are the three women played by <strong>Geraldine Plunkett, Melissa Nolan</strong> and <strong>Jennifer Laverty</strong> . Their movements are flawless and manage to convey the beautiful sadness expressed in the last line of the play delivered as the women are holding hands, none of which has a ring: "I can feel the rings."</span></div>
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<span style="font-family: Georgia, "Times New Roman", serif;">This last piece is played twice, first in English and then - appropriately for Seachtain na Gaeilge (Irish week)- as <em><strong>Teacht Is Imeacht</strong>.</em> Translated by Gabriel Rosenstock, <strong><em>Teacht is Imeacht</em></strong> worked very well in itself, but I felt it might have been better presented first in Irish then in English. Having seen it in English, the audience is I think, too freshly familiar with it to see it all again. Hearing it in Irish first would mean most of the audience would still have something new to get out of a second performance. But that small criticism aside the overall presentation by <strong>Mouth On Fire Theatre Company</strong> was superb.</span><br />
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<span style="font-family: Georgia;"><strong>Review - Seamus Gallagher.</strong></span></div>
Anna Livia Reviewhttp://www.blogger.com/profile/13350497636483811060noreply@blogger.com0