Two-color letterpress on Stonehenge wraps and aspects of the interior. Visual work by Francesca Rowe. Hand-stitched. 36 pages.
3rd Annual Sussex Poetry Festival, Friday 8th & Saturday 9th June.
[Elizabeth Guthrie] & Lee Harwood:
(Camera cuts out on Elizabeth. See also Elizabeth & everyone’s reading at Crossing the Line in London in January).
Niels Frank (w/ Daniel Kane) & Reem Kubba (w/ Keston Sutherland):
Jow Lindsay, [Richard Owens] & Verity Spott:
(“What you are giving me is simply too much and so I have no choice
but to decline your generous offer.”
Drew Milne & Laura Kilbride:
Sam Solomon & [Peter Middleton]:
Dan Spicer, Julie Carr & Holly Pester:
Ralph Hawkins & Linh Dinh:
(& played out by [West Hill Blast Quartet]. No video, but here’s Tim Hughes:
See also Dan Spicer’s Mystery Lesson).
Tipped Press is pleased to announce its own existence as well as the publication of its first two pamphlets:
Ends was written in Montevideo, Uruguay, in 2011, and is John DeWitt’s first poetry pamphlet.
Errata was written in Cambridge, UK, in 2011, and is also Laura Kilbride’s first poetry pamphlet.
Both pamphlets are printed on recycled paper, measure approximately 148mm by 170mm, and are hand-stitched. Each pamphlet costs £3 + £2 (p&p), or your estimated equivalent in an alternative currency. They are available from tippedpress.com.
With Keston Sutherland.
I’m extremely suspicious of the forms of implicit and explicit messianism involved in that kind of fetishism of intensities —not simply because it becomes harder and harder to do, the more I learn about the world, but also because I do think that it’s at least potentially and is often actually and in fact a thoroughly bourgeois posture. I think that people when they hear the word ‘bourgeois’ tend to imagine that this is a concept whose application can conveniently be limited to people whose authority we despise or who are our parents or who are older than us or who own shops or whatever it might be. But in fact, of course, there are all sorts of very exciting, very intense and emotionally bewildering forms of romantic bourgeois posturing which are bourgeois not because they come from the mouths of the people who own the means of production, but rather because they imaginatively spirit into existence solutions to social problems whose origin and engine is the poetical imagination rather than real political activity aimed at resolving social issues.