“Can you tell me how you get invited to read at festivals please?”

A few days ago Helen Ivory posted this question on Facebook. There was a flurry of responses, none from a festival, nearly all saying they didn’t know the answer.

I wondered about replying as I am one of the three members on the Cheltenham Poetry Festival (CPF) management team, but I decided to write this blog post instead as I can give a longer and more considered reply.

The first thing to say is that this post is my personal take on the question and is limited to one poetry festival.

Considerations in booking poets

We book poets, who will be attractive to our audience or should I say audiences. We have a 10-day event this September in Cheltenham. The audience for this is different from that for the year-round online festival we run. We can be more adventurous with the online festival. But with both in-Cheltenham and online festivals we are looking for poets who can read their poetry in a way that reaches out and engages our audience.

There are other considerations when we book poets. The first is financial and of course is related to ticket sales. We don’t have a large budget and we have to make it balance at the end of the year/festival. It means we can’t book all the poets we would like. Sadly issues such as the size of the fee, costs of travel and accommodation, all play a part.

Does the poet’s work fit with the programme? We want our programme to be diverse, in all sorts of ways, in subject matter, poetry style and form, ethnicity, poet’s age etc. We usually have a minimum of two poets reading per event, do they complement each other, maybe they are dealing with the same theme but in different ways?

So how do we find poets?

Poets are constantly approaching us, far more poets than we have slots. A polite email is the best option, rather than messaging us. Do read any information we have on the website about when and how to apply.

We are also proactive in looking for poets. We read poetry books and magazines, go to poetry events especially online ones. If we find someone who excites us and fits what we are looking for, we may approach them or keep them in mind until we can.

The open mic slots at our online events are really important to us. Open mics is a way of performing at the Festival that is open to everyone, not just for newbies but also established published poets. We do sometimes offer a headline slot to someone, who has come to our attention via the open mc.

So what can you do to get a headline slot?

• Have a published poetry book (not self-published)
• Attend CPF events, it may not be possible to attend the in-Cheltenham Festival, but if you are interested in performing with CPF attend some of our online events
• Learn how to communicate your poetry to an audience (open mics are great for this)
• Take part in online events.
• Talk to your publisher – CPF sometimes has publisher showcases, where a number of poets from one publisher read together.
• By all means send us a polite enquiry email
• Remember we are three volunteers with limited time, running a festival because we love poetry. Poets who give us hassle and/or extra work aren’t likely to be booked, or if booked won’t be booked again.

In conclusion

I hope this post helps. As a fellow poet I know how hard finding readings can be. Good luck.  

UPDATE
Cheltenham Poetry Festival website now has a "Take Part" page and  a dedicated contact form for poets to join a special mailing list. The page is here https://cheltenhampoetryfestival.co.uk/take-part/

Publication Nerves

 

It's the publication date for Fool's Paradise. I'm sending the preorders out this am and feeling horribly nervous as I do so.

This book means a lot to me for a number of reasons, not least because my late friend, Hannah, loved it so much. It's her artwork on the cover. We talked about publishing a limited edition of the poem illustrated by her prints, but she died before it could happen.

When I worry over the book and wondering whether I should have changed this word or whatever, I should remind myself that she believed in it and me. I should remind myself of Alison Brackenbury's and Fiona Sampson's words of approval on the back cover. Plus my publisher's excitement about the book. My insecurity is the reason I didn't publish anything for years, it's the reason I have such problems promoting my work and I must overcome it and I will.

Fool's Paradise coming out 19th May

 

I'm delighted to announce that my new poetry book Fool's Paradise will be published by Black Eyes Publishing on 19th May. 

I'm rubbish at bigging up my poetry, so I will let two great poets do it for me:

This is an extraordinary piece of writing: truly compelling.   Alison Brackenbury.

Fool’s Paradise is a dive into the uncanny: into that rich heritage of myth in which we find ourselves both far from home, and simultaneously at home.   Fiona Sampson

There's two special offers on the book at my bookshop https://zoebrookspoetry.bigcartel.com  I am offering the book £2.50 off for preorders. Plus if you are interested in also getting Owl Unbound you can buy the two books at £20 (£2 off) plus free p&p. Or you can get the same deal on Fool's Paradise from my publishers Black Eyes Publishing. 

Fool's Paradise will be launched online at the Cheltenham Poetry Festival on 24th May at 7pm when I will be joined by Angela France, Ben Ray and Adam Horovitz. Get your free tickets here: https://www.ticketsource.co.uk/cheltenhampoetryfestival/t-yaqqjme

Isabelle Kenyon - Promoting A Book

 

Isabelle Kenyon

I do not find self promotion very easy. In fact I cringe and procrastinate everytime I have to do it. Yes, I'm on Facebook, Twitter and Instagram, the first more so than the others, but it is not enough. And my publishers have a right to expect me to do some book promo, afterall they have invested time and money into making my book a success and so should I (time at least).  So about six months ago I decided I would invest in some book promotion. 

I turned to Isabelle Kenyon to act as publicist for me, on the recommendation on Anna Saunders. Over 3 months Isabelle got me 7 reviews with more hopefully on the way, a spoken word event, a blog interview,  youtube feature, 2 radio appearances and a podcast appearance. 

I was delighted with Isabelle's hard work. Of course Isabelle has a great list of contacts, which would take me ages to achieve and then I would need the temerity to approach them. But Isabelle also gave me the confidence to relax and focus on what I was good at - reading at open mics and giving readings. 

If you are interested in using Isabelle's services, I recommend them - you can find out about them here: https://isabellekenyonpoetry.wordpress.com/author-services/ 

For people who are perhaps earlier in their writing journey and are experiencing financial difficulties there are still a few free places on a workshop Isabelle is leading for the Cheltenham Poetry Festival next Tuesday available here https://www.ticketsource.co.uk/cheltenhampoetryfestival/t-axarox

Performing Poems from Owl Unbound

I thought I'd bring you up-to-date with what I have been doing and what is coming up. In these pandemic days I have been busy performing poems from my collection Owl Unbound online. 

The video above of my poem The Gypsies in the Room is one which featured in the Dialect - Supporting Rural Writers Women's Day events

Most recently I read at the Gloucestershire Poetry Society's Crafty Crows alongside the wonderful Adam Horovitz. GPS have now posted a film of the event (shared above) on their Youtube channel. My reading starts at 24.18. 

 

I also took part in Raised Voices, the GPS's International Women's Day event, which they have also posted on their channel. The event featured 16 Gloucestershire poets, including Angela France, Sharon Larkin, Maria Stadnicka, Tish Camp, and Belinda Rimmer. But mostly I have been enjoying reading at Open Mics at a wide variety of poetry events which have taken me to the Netherlands, Scotland, Wales and all places in between.

I was delighted to take part in Damien Donnelly's excellent poetry podcast Eat the Storms 

Readings Coming Up

12th May at 7pm at the Evesham Festival of Words I will be reading poems on the theme of Home and Away alongside Anna Saunders and Ben Ray.

16th June at 7.30 at Fenspeak, I will be reading a personal selection of my poems

7th July at 7pm  at the Wirral Festival of Firsts I will be reading with Anna Saunders (again) and Simon Griffiths on the theme of  The Wild and the Urban.

20th July at 7.30pm at Poetry Teignmouth at the Mill

10th August at 7.30pm at Flight of the Dragonflies 

18th October at 7pm at the Gloucester Poetry Festival I will be reading alongside Josephine Lay and Stuart Carswell

And there's more, but I am not yet allowed to go public about them yet!

Buying books in this time of COVID

Here in England bookshops have been categorised by the UK government as "non-essential". Some people, myself included, would disagree with that categorisation, but that's how it is. The impact of the categorisation has been that when we were in lockdown physical bookshops had to close, leaving the way open to Amazon.  

Now the restrictions have lifted and some (but not all) local bookshops have opened. I know many of you will be heading to your local bookshop to buy your books and in so doing support the shopowner. That is not an option for all of us however. So what else can we do?

In the first instance if you want to help your local bookshop, but can't get there for some reason, you could phone or email them and see if they will supply your books directly to you. That way they get all the profit from the sale. Some bookshops have a website of their own (check Google for details). 

My local bookshop has remained closed, due to the owner having to shield a vulnerable family member. Early on in the pandemic I tried to order books from her, but she was unable to supply them. She recommended using Hive https://www.hive.co.uk/  - an online bookstore where you can nominate your local bookshop to receive a minimum 10% if bought online (UK standard postage is free). So I did and have done so several times since. However Hive does not stock everything, only what their wholesaler, Gardners, supplies. 

The same is true of Bookshop.org https://bookshop.org, which arrived this year with a great fanfare. With the stated aim of "supporting local bookshops", Bookshop.org offers two ways of supporting bookshops: a) your local bookshop might have a shop page or b) you can nominate your bookshop as you would on Hive. However when I looked at my local bookshop's page, there were only 31 books to choose from. There has been a lot of excitement about this "alternative to Amazon".  But more recently there have been some critical voices, suggesting that this gifthorse needs to have its teeth examined. 

Remember neither Bookshop.org nor Hive will supply every book that is published - my collection is not supplied by Gardners and so it is one such book. But you don't just have a choice between the Amazon big bad wolf and Bookshop or Hive. 

For many of us Waterstones is our local bookshop and it has an excellent online presence https://www.waterstones.com. I would say that - they stock my book! As does Foyles https://www.foyles.co.uk/.  Blackwells also has an online website https://blackwells.co.uk/bookshop/.

But there are other places to buy books. For starters you could buy from the publisher or the author. This is especially true of the specialist presses and markets, like poetry. You may not be supporting your local bookshop, but you are supporting the people who create the books. 

When it comes to online bookshops, if you want to avoid buying from Amazon also avoid Abebooks and Bookdepository as both are owned by the American giant. Books etc. https://www.booksetc.co.uk/ on the otherhand is British and has a huge selection of books both new and old and is nearly always cheaper than Amazon. 

There is an online marketplace to rival Amazon: Ebay. You'll usually be dealing with a small bookseller on https://ebay.co.uk, but some of the bigger online booksellers are also there, e.g. World of Books and Wordery. It is always worth looking there, especially if the book you want is hard to find. And yes, my collection is available there - new - from a bookseller who is able to offer it on Ebay in Australia and the US. 

These suggestions are just based on my experience of bookhunting. Do you have any alternative suggestions? What about good booksellers outside of the UK? Please add your comments below. 

Magic Realism: Waiting for Bluebeard by Helen Ivory

My review of an amazing poetry collection is available in full on my Magic Realism Books Blog

Magic Realism: Waiting for Bluebeard by Helen Ivory:   'Waiting for Bluebeard' tries to understand how a girl could grow up to be the woman living in Bluebeard's house. The story be...

My Poetry Collection Owl Unbound

 

My collection Owl Unbound (pub Indigo Dreams Publishing) was launched on the 23rd October at the Cheltenham Poetry Festival. And I was joined by three very special poet friends - Fiona Sampson, Anna Saunders, and Adam Horovitz. It was a wonderful night. 

Now comes the business of selling it! You can buy a copy direct from me for £9.50 (postage is free in the UK) by emailing me on zoe.brooks@googlemail.com. If you want I can sign it for you. Alternatively it is available from my publishers Indigo Dreams or most online bookstores.

The launch reminded me how much I love reading to an audience and I actually quite enjoy reading on Zoom, so if there is anyone interested in my reading at a poetry event, please email me on the above email. 

Cover Reveal

Here it is - the cover of my collection Owl Unbound with Indigo Dreams Publishing. I am really pleased with it. The cover very cleverly references several poems in the collection. 

The collection will be published on 1st October with my launch on 23rd October on Zoom (more info to follow). It can be preordered from the publishers here: https://www.indigodreams.co.uk/zoe-brooks/4595048690. or you can order a copy from me (signed if you wish) on zoe.brooks@googlemail.com . 

Update on My Forthcoming Collection

The idea that my poetry collection will be published is becoming more and more real. I have sent off the final copy to Indigo Dreams, together with an information sheet about me and the book, and a head and  shoulders shot (how I hate photos of myself). 

The launch date is set: 23rd October. It will be a zoom event hosted by Cheltenham Poetry Festival. I will miss the party feel of a physical launch, but as I said in my last post a zoom event has the advantage of allowing me to invite people, such as my friends overseas, who would never get to a physical event. A number of poet friends will be joining me in reading at the launch (details tba), so it won't be unadulterated Zoe!  If you fancy coming, do drop me an email or post a comment below. Or just look out for my posts on twitter, facebook or instagram. Alas you will have to bring your own wine. 

Zoom

In my last blog post I talked about the impact of COVID and mentioned that I had been attending a number of online poetry events, usually via Zoom. It looks as though my collection will have to be launched online. so I need to understand what works and doesn't. My diary is now full of online poetry events - on some evenings I have as many as three events to choose from and on weekends I could be all day on Zoom overdosing on poetry.

We all thought this would be a temporary phenomenon, but a lot of people have been enjoying poetry online and realising that the internet allow syou to go to poetry events all over the world. I suspect that even when the live events restart (which may be a long way off) the online poetry scene will continue.

Okay there are downsides, but online poetry events do allow you to go round the world, to hear poets you would never hear otherwise and even to read at open mics there. Importantly online poetry allows people who cannot access in-the-flesh events because of where they live or because of disability to access a world they would be excluded from. Somewhere out there is a poet or poetry event organizer who sees the potential of this brave new digital world, who sees a new path for poetry.

I thought I might share with you some of the online poetry event organisers whose work I have enjoyed. I know there are some I have missed out and there are loads more I don't know about.  Please add any you know of in the comments or email them to me and I will add them to this post. 

Book Publishers:
Book launches by Carcanet Press: https://www.carcanet.co.uk/events.shtml
Launches and other readings organised by Seren Books: https://www.serenbooks.com/events
Book launches by Nine Arches Press: https://www.facebook.com/NineArchesPress/

Poetry Festivals
Cheltenham Poetry Festival is offering an amazing programme of readings and workshops: https://cheltenhampoetryfest.co.uk/
Ledbury Poetry Festival has a 2-day online festival on 4th and 5th July https://www.poetry-festival.co.uk/festival-online-programme-register-for-events/
Gloucester Poetry Festival is also offering some great readings:   https://www.facebook.com/GloucesterPoetryFestival/

Poetry Groups
Gloucestershire Poetry Society's Crafty Crows events offer invited readers and open mics: https://www.facebook.com/groups/thegloucesterpoetrysociety/
Poetry Norwich has a monthly event https://www.facebook.com/VoltaPoetryNorwich/
Swindon's spoken word event Ooh Beehive is also now online: https://www.facebook.com/OoohBeehive/
Dear Listener - in Worcester is also now Digilistener:
 https://www.facebook.com/DearListenerOpenMic/
Cafe Writers in Norwich - invited readers and open mic http://www.cafewriters.co.uk/
Poets Cafe in Reading - nvited readers and open mic: https://www.facebook.com/ReadingStanzaPoetsCafe
York Spoken Word - open mic https://www.facebook.com/YorkSpokenWord

Poetry Magazines
A number of poetry magazines are having online launches including Poetry London, Poetry Ireland, Butcher's Dog, Poetry Review, and Poetry Birmingham Literary Journal.

Other
The Poetry Book Society has events on its Instagram account: @poetrybooksociety
Helen Ivory and Martin Figura have launched Live from the Butchery:  https://www.facebook.com/Live-from-The-Butchery-100380041704407

Writing In the Time Of Covid 19

There is a Czech saying that my friend Hannah regularly quoted at me: "How to make God laugh - tell him your plans". My plans for this year were considerable. With my collection Owl Unbound due out this year, I had plans to build up my reputation at poetry readings, to network, to continue sending out to magazines, and of course to launch the book. God must have found them very amusing.

Even the sending out to magazines is becoming less easy as some print magazines are having problems with their printers. My publishers are having problems with their distributors. However online there is a surge in Zoom, Hangout and similar forms of internet events. I have enjoyed being a member of the audience at some of these. The Cheltenham Poetry Festival is organising a series of online workshops this summer and I am helping out with these.

And yet, online poetry for all its attactions, is not the same as being in a room with people. Technology (especially mine) has a habit of failing at the worst time. The connection falters and sometimes fails altogether, words are mangled, images of poets freeze. Nor is it possible to get the non-verbal feedback one gets when reading.

There has been a flurry of covid poems (some of them brilliant and some awful) and several covid anthologies are calling for poems, including one being produced by the Gloucestershire Poet Laureate, Z.D Dicks. Write Where We Are Now is an initiative by the Manchester Writing School and fronted by Carol Ann Duffy, creating online a living record of the crisis.

Pandemics have been a subject I have been interested in for decades. The threat and reality of the plague appears in my Healer's Shadow trilogy. And in my files I have an unfinished poem cycle about the impact of illness and environmental depredation on the collapse of the Roman Empire.

In the last month I have written two poems that might be termed covid poems. But as is usually the way with what I write they aren't a direct take on the subject. I am cautious about writing about covid now. Everything I write comes from somewhere in my brain where it has been brewing for a while. It is linked to my mental wellbeing.

Never has it been more the case that we write about what we must. For some people that is about virus, for others they need to write about anything but. The current anthologies can only capture a snapshot, and a valid one, but the best work on the subject may well be written in hindsight.

Doors Close, Doors Open

At Piranha Poetry

I was chatting to an old school friend of mine last week and we both commented on how sometimes your life can suddenly change: doors close and new ones open. They certainly have for me over the past year.

My life in the Czech Republic has ended. Out of the blue a buyer came forward with an offer for my house there and I could not refuse. Last month I spent a fortnight in the country getting rid of most of my things and storing a few others, handing in my Czech residency papers, and handing over the keys. The door to my Czech home literally closed.

I am near to closing another literal door. As I said in the a previous post my mother died at the end of June and my life as a carer came to an end. Of course there has been work to do for her since her death. Over the last month I have been clearing one room a week in her house. It will take me another four weeks before the house is in a state ready to be put on the market.

The door that has opened is of course poetry. With my collection with Indigo Dreams (now called Owl Unbound) due out later in the year I have work to do. Firstly there is the editting of the collection prior to sending the finished version to Indigo Dreams, this I think is pretty well done. Then there is the need to get some readings sorted. The best place to sell books is at readings and that means getting my name around ahead of the book launch.

In the last two months I have given readings in Gloucester and Bristol, as well as at the launch of Poetry Birmingham Literary Journal (I had three poems in the magazine) and at open mic's in Stroud, Gloucester and Cheltenham. I must confess I loved performing my poetry. It gives me such as buzz.

The other poetry work I have been busy with is helping Anna Saunders with her Cheltenham Poetry Festival. As I may have said elsewhere in this blog I have a background in organising community events, so it isn't hard to get back into the swing of working on an event. It is great to be able just to help out, rather than be the director.

There will be more about the Festival in another post, but for now here is the link to the amazing programme Anna has put together: https://www.ticketsource.co.uk/cheltenhampoetryfestival
With performers as diverse as hip-hop legend JPDL and former Poet Laureate, Carol Ann Duffy, there really is something for everyone.

Blogging about the Czech Republic

My first venture into blogging was with my Czech blog. I have just posted a post on it about why I blog, here's the link

Adventures in the Czech Republic: Blogging: One wonderful thing about my life in this country has been this blog. I don't think I fully realized its importance to me until ...

Aldeburgh Poetry Festival - some lessons

Last weekend was the Aldeburgh Poetry Festival. My husband and I had been planning a trip to Suffolk for over a year and the festival gave the perfect motivation to go. Whilst I was at the Festival primarily as a lover of poetry, I was also there as a member of the Cheltenham Poetry Festival team. Aldeburgh, like Cheltenham, is run by volunteers, so I was making mental notes as to what worked and what didn't.

On the Friday we only went to the evening event a storytelling session led by Martin Shaw, having spent the rest of the day at Thorpeness, Snape and Sutton Hoo (more of that in a future blogpost). Shaw was a revelation, he kept the audience rapt with his retelling of two folktales. On Saturday I dedicated myself to poetry, while my husband visited churches and villages for his English Buildings Blog before rejoining me for the evening reading. On Sunday we went together to two back-to-back readings before heading off to our B and B exhausted.

This is the first time I have so intensively attended a poetry festival and it won't be my last. I really enjoyed it, but it takes some stamina! I listened to four hours of poetry on the Saturday plus taking part in the Paint me a Poem workshop led by the excellent Grace Nichols. When I was to organize training and conferences professionally I learned that the maximum length of time someone can listen in one session was 45 minutes and that was for much younger brains than mine.

The structure of the readings at Aldeburgh helped keep my concentration by having (with the exception of Martin Shaw's storytelling session on Friday more a theatrical experience that a poetry reading) multiple readers for each one-hour session. In the Carcanet 50th anniversary celebration there were six poets, but most sessions there were three. The festival was programmed to allow a 30-minute break between readings, which was good allowing me to stretch my legs, visit the loo and peruse the bookstall, but not enough to allow for buying and drinking a coffee.

But what about the poetry I hear you say. There were usually two readings and a workshop going on at the same time, so inevitably I was unable to get to everything I wanted to, but it was great to be spoiled for choice. The highlights for me were the workshop, Carmen Bugan's amazing poetry, Alison Brackenbury, Martin Shaw, Kaddy Benyon, Sean Hewitt and young poet, Jamie Osborn. The last three were poets whose work I was unfamiliar with.

We drove back on Monday and had the added pleasure of conversing with Alison Brackenbury as we did so.

Indigo Dreams Publishing

Yesterday I received an email from Indigo Dreams Publishing to say that they want to publish a collection of my poems. I have to keep pinching myself to make sure that this is really happening. I had managed to persuade myself that there was no chance of an acceptance, so their response came as a complete surprise.

Indigo Dreams were the first poetry publisher I submitted my collection to. They were top of my list for a number of reasons.

Firstly I think my poetry fits with their list. Their magazine The Dawntreader was the first one to accept my work when I started sending it out again last year. The poem they published was the "Credo" from a sequence of mystical poems about returning to the Cotswolds. It was one which I felt might be hard to place, but The Dawntreader specifically is interested in a range of subjects , such as myth, legend, landscape, nature, spirituality and love - that play an important part in my work.

Another reason for choosing IDP is that Ronnie and Dawn at Indigo Dreams have a reputation for looking after their poets. I saw them in action at the Cheltenham Poetry Festival in April and liked what I saw. I also liked the poets who read in their showcase at the Festival, especially Jean Atkin and Allyson Hallett.

One thing that matters to me is that Indigo Dreams seem to choose the poets and poetry they like and think their audience will like, rather than follow fashion. Indeed I rather think that some publishers would have turned me down simply because of my age!

This last year has been an amazing journey for me. I little thought as I looked at the new Indigo Dreams books on display at the National Poetry Library only last September that in 2020 my name would be on the cover of one of their books. I want to thank Dawn and Ronnie for this opportunity, especially Dawn whose kind words when accepting "Credo" for The Dawntreader gave me much-needed confidence. There are a few other poets I owe thanks to - Angela France of Buzzwords and Anna Saunders, both of whom suggested I apply to Indigo Dreams; Alison Brackenbury, who was so kind to me when I arrived at my first Buzzwords meeting; Christine Whittemore for reading the collection and giving feedback; and Michael Horovitz for reminding me that I was good.

Learning To Have Lost

The following review, first appeared on my magic realism review blog here: https://magic-realism-books.blogspot.com/2019/10/learning-to-have-lost-by-oz-hardwicke.html

Oz Hardwick’s collection of prose poems Learning to have lost  the passing of time, memory, old age, illness, death and how these resonate and move within and around each other . True to form, Hardwick achieves a sense of a musical refrain and rhythm underpinning and connecting this absorbing collection. While the subject matter is weighty and the pain from the litany of loss candidly expressed, a resolute humour asserts itself throughout that is sometimes sinister, sometimes surreal, often surprising and enormously engaging.

Goodreads description

I was fortunate to hear Oz Hardwick read from this collection and from his most recent book The Lithium Codex at the Poetry Cafe Refreshed in Cheltenham. Both are collections of prose poems - put simply poems without line breaks, or prose with the rhythm and sensibilities of poetry. But that definition does not do prose poetry justice, it combines elements of both prose and poetry, existing in some sort of liminal space, not unlike magic realism. Maybe that is why I found so much magic realism in these poems. 

In Graduation a man opens his old school bag and sees that the books had all grown back into trees, with damp grass all around, and there were birds, like notes on telegraph wires, singing a song he'd written in an abandoned bandstand. The Universal Petting Zoo opens with the words Every time she returns from feeding the animals, she is smaller. I could go on quoting sublime bits from every poem, where reality shifts as you read and suddenly you are somewhere else, somewhere no less true. I love the way Oz Hardwick's poems riff. It isn't a surprise that  Hardwick is also a musician. Nor was I surprised to hear that Hardwick is influenced by Richard Brautigan ( I reviewed Brautigan's Sombrero Fallout in this blog here). 

I love this slim book of poetry. Do buy a copy, but guard it. I lent my copy to my husband and had to fight to get it back! 

New on the blog - recordings

As a follow-up to my last post I have recorded readings of four of my poems. They are to be found in the Recordings page here: https://zoebrooks.blogspot.com/p/recordings-of-poems.html

If you are interested in booking me for a reading, please get in touch. My email is zoe.brooks@googlemail.com

Speaking Poetry

A young Zoe reading poetry at the Young Arts Centre

I have always believed that poetry is primarily a spoken art. It certainly is for me and has always been. My mother told me that I composed poetry before I knew how to write it down and the same is true of poetry historically or should I say prehistorically. 

I still like to see the poem on the page and indeed usually buy a book if I have enjoyed a reading, but listening to a good reader of poetry can be an awesome and illuminating experience. Alas not all poets know how to read well. A good reader will reveal the poem's structure and music, giving it another dimension.

Now that I am back on the poetry scene, I have started reading to audiences again. The other day at Buzzwords, Anna Saunders complemented me on how I read and I replied that I learned young. Last Friday I went to Alison Brackenbury's party to launch her new book Gallop*, where we met up with an old friend, Christine Whittemore. Both Christine and I read in the open mic and frankly you could tell that we both had been trained in reading. When I say "trained", I don't mean taught in the conventional way. We both went to Cheltenham's Young Arts Centre, where we were active members of the EOS poetry group. Every year the group would put on at least two public poetry readings. Those readings would include our own poems and those of famous poets. I don't recall being taught how to read or project my voice, but then the Centre's director, Elizabeth Webster, was a teacher with such skill you weren't aware that you were learning from her. 

When I moved to London, I started reading with Michael Horovitz's Grandchildren of Albion crowd, which included some amazing poet readers. And now here I am again reading and loving it. Anna has asked me to read at next year's Cheltenham Poetry Festival. I am so looking forward to it. You can hear me reading four poems here.

*Alison is an excellent reader and Gallop, a selection of some of the best poems over her long career, should be on everyone's Christmas list. There is currently a discount on it on Carcanet's website: https://www.carcanet.co.uk/cgi-bin/indexer?product=9781784106959

Changes

My mother died at the end of June. I have been spending a lot of my time caring for her and before that my father over the last three years. As she was 89 and had Alzheimer's we knew her death was coming, but nevertheless it was a shock. But the blessing was that the disease did not take from her the awareness of who we were, she was still our mum.

Mum was very important in fostering my writing, especially my poetry. She had wanted to study English at university and would have done so had not her father's death meant that she needed to earn money for her family. When it became clear that I was naturally talented in poetry, I was given poetry books. I still remember poems from Happenings, and Junior Voices. But perhaps more importantly Mum encouraged me to look and to imagine. We would go on long walks and she would point out flowers, trees, animals. "Look, Zoe. Do you see that tree root? What do you think it looks like?" When I replied that it looked like a witch or a dragon's claw, she would be delighted.

When I sat with her in the last few months, I sometimes read poetry to her and she loved it.  Poetry has that power.  Despite her Alzheimer's she beamed when I showed her a magazine with one of my poems in it and a spark appeared in her eyes. 

With Mum gone, I have the freedom and time, and perhaps the emotional energy, to really pursue my poetry career. It is what she would have wanted. I am preparing a collection for submission to publishers. I have a publisher in mind already. In fact looking over the body of my work, I have enough for several books and I continue to add more poems, including one recently about her death.

Today would have been her 90th birthday. Happy Birthday, Mum.

Update on Submitting to Magazines

Today I had an email telling me that I have just had a poem accepted by another magazine (Northampton Poetry Review), which reminded that I really should write about my progress with magazines and how I approach submitting to them. Since October I have had eleven poems accepted by seven magazines.

The magazines that have already published are:
The Dawntreader issue 45: https://www.indigodreams.co.uk/the-dawntreader/4563791666
Obsessed with Pipework issue 85 : https://obsessedwithpipeworkblog.wordpress.com/
The Curlew Crataegus issue: https://www.the-curlew.com/
Prole issue28: http://prolebooks.co.uk/index.html

The magazines who have accepted but not yet published are:
Fenland Reed: https://www.thefenlandreed.co.uk/
Dream Catcher: http://www.dreamcatchermagazine.co.uk
Northampton Poetry Review: https://www.northamptonpoetryreview.org

Update to this update: Confluence https://www.confluencemagazine.co.uk/ has accepted three poems, making it fourteen poems accepted by eight magazines.

How I approach submitting to magazines
As so far my approach seems to be working, I thought I would share it with you.  It goes without saying that the most important thing has to be having poems ready for publication, so nothing goes out unless I am happy with it.

I did a lot of research into poetry magazines before I sent out anything. This included combining a trip to London to see my son with an afternoon in the Poetry Library, which is on one of the upper floors of the South Bank Centre in London. The Library has a large selection of current magazines on display as well as back copies. It also produces a list of magazines, which you can download from its web site; https://www.nationalpoetrylibrary.org.uk/. But I did find that the list included some magazines that no longer are in operation, which goes to show you do have to check with the magazines and their websites. What I was looking for was poetry magazines that I liked and wanted to be in and in which my poems would fit. I made a note of the number of lines on the page (no point sending poems which would be either too long or too short). I always make a note of the current editor's name (not always the same on the Poetry Library list), so I can write a personalise email/letter.

I drew up a shortlist and proceeded to buy copies of the magazines I was interested in. As I am a carer for my mum I don't have a lot of free cash, but I consider it a good investment, plus I really do not think that I can ask magazines to publish my work without being willing to buy at least one copy. I continue to buy magazines when I can afford to do so.

Most poetry magazines have websites or blogs, where I find advice on submitting my poetry to them. I follow the guidance to the letter. Different magazines can have very different requirements and it is very bad manners not to do what they ask you to. I also subscribe to their blog feeds and Facebook pages, as sometimes they will announce submission deadlines, themes for the next edition etc. through these.

I have a spreadsheet to keep track of my submissions. When I first started submitting back in the early 1980s, I didn't have a spreadsheet or a computer for that matter and it was easy to get lost and send to two magazines at the same time, which is a no no. In my spreadsheet I have one worksheet which lists the poems down the left side, against that I put the names of magazine I send them to and date. When the magazine replies I enter the response. If it is a no, I send it to another magazine and enter that info into the worksheet. Another worksheet lists the magazines with useful info e.g whether they take email submissions, number of lines per page, maximum number of poems allowed per submission, and of course the website address. Another worksheet is a monthly calendar showing which magazines are accepting submissions when.

If you are thinking about submitting poems to magazine, I hope this information helps.

Buzzwords Poetry & Cheltenham Poetry Festival.

Buzzwords happens every month, usually on the first Sunday, at the Exmouth Arms in Cheltenham. The website is here: http://buzzwordspoetry.blogspot.com/  The meetings consist of a workshop led by a guest poet, readings by the guest poet and an open mic session. The guest poets have all been excellent. The group have been really welcoming and full of lovely people. I go to all the meetings I can. I always read as part of the open mic.


This weekend saw the opening of the Cheltenham Poetry Festival, which will go on until the 4th May. I have plans to go to at least five events and would like to go to more, but my care responsibilities make going to day-time and early evening events impossible.

Last night I went to a reading by students on the University of Gloucestershire Creative Writing Course. The course director is Angela France, who is also responsible for Buzzwords. Angela introduced her students to a sparse but appreciative audience. There were some good and accomplished poets in the group, as well as those who are just learning their craft.

Poem - My Grandfather and Uncle

This poem was first published in Pennine Platform magazine. It remains one of my favourites.

MY GRANDFATHER AND UNCLE

My grandfather and uncle

both returned to the earth

with untimely haste.

Although they worked it,

broke its back

for snow to bite into,

dragged sedge from ditches,

clawed back

lambs from snowheaps,

they did not inherit it,

unless it was

in the length and width

of a man's form.

And it claimed them

early,

reaching up through the chest,

pain filling the arms,

which had gathered harvests.

And still they loved it

and still they cursed

on cold wet mornings,

as it worked

like ringworm into their hands.

In death

they shall inherit the earth.

Until this time

they have been living

on borrowed land.

Muscovy by Matthew Francis

Here's another review that appeared on my magic realism blog.

Like his acclaimed Mandeville (2008), Matthew Francis's fourth Faber collection explores a world of marvels, real and fantastic. A man takes off for the moon in an engine drawn by geese, a poltergeist moves into a remote Welsh village, and a party of seventeenth-century Englishmen encounter the wonders of Russia - sledges, vodka, skating and Easter eggs. The scientist Robert Boyle basks in the newly discovered radiance of phosphorus (the noctiluca of the title) and the theme of light in darkness is taken up by the more personal poems in the book: phoneboxes, streetlamps, moonlight. 

Goodreads description

Another lovely poetry book for you. Not all the poems are magic realism, but most have that magic-realist sensibility that I have written about in the past. 

The collection opens with The Man in the Moon, an account of a trip to the moon powered by geese. It made me think of Calvino, although it is a based on a 17th century fantasy by Francis Godwin. Many of the poems in the collection are influenced by the past or by historical accounts. Some are realistic such as the title poem, which is based on an account by Andrew Marvell of an embassy to Russia. Others have a more supernatural  element e.g Corpse Candle and Familiar Spirit.  I have written before that historical novels (and poetry) that include the supernatural are presenting the world of the past realistically.

My favourite poem in the book is The Walker. It is a beautiful and subtle poem. It of course has a magic-realist angle, but also evokes its mountain setting accurately and in wonderful language:

And the sheep carried on, canted to one side,

    trotting on their adjustable legs

and the narrator's response to it:

I was an inkwash of myself, wet on wet, 

  among the limp vertebrae of ferns

  and the fuzz of bilberry. 

One stroke would smear me into a blur.

The natural eeriness sets the scene for the twist at the ending of the poem.

Wonderful stuff.

"The Worst Enemy to Creativity is Self Doubt"

Well I have done it, at last. I have started sending my poems to magazines again.

When I was younger I was regularly published in  magazines, including South West Review, The Rialto, Aquarius, Pennine Platform, and others. I was probably on the point of getting my first collection, but something happened.

I lost confidence. I have since discovered, this is not uncommon among women poets. Jo Bell and Jane Commane write about it in their excellent book How to be a Poet .  And I had a similar conversation about the issue with Briony Bax (editor of Ambit) at the Poetry Book Fair.  My loss of confidence was ridiculous really. I had two great poets saying I was good (Michael Horovitz, Philip Larkin) and still I gave up submitting.

There were some mitigating circumstances I suppose. Looking back I was struggling with depression, something neither I nor my husband really confronted. My way of dealing it was to stop being a full-time mum and taking on a demanding job, which meant I was balancing motherhood, career and poetry. Poetry was what suffered. My poetry was increasingly taking the form of long sequences or indeed long poems and so not exactly suited to magazine submission, and I used that as an excuse for doing nothing. Then of course the longer I left submitting poems, the harder it was to get back into doing so.

But that is behind me now. I have restarted submitting poems and already in just a month I have had three poems shortlisted for publication, so that is good for my confidence. Fingers crossed the poems make it to publication.

In case you are wondering about the quote in the title of this post - it is from Sylvia Plath.

The Girl Who Forgets How To Walk by Kate Davis

This review first appeared on my magic realism books blog.

"We never speak of it, but here we know the land
can t be trusted"

The debut collection from Cumbrian poet Kate Davis tells a personal narrative of contracting polio as a young girl, her subsequent disability and slow rehabilitation. A book of things known and not known, of untrustworthy ground and unsteady bodies, The Girl Who Forgets How to Walk finds comfort in the ancient limestone of her home county as she teaches herself to move again along its hills and coastlines. Inspiring, funny and deeply personal, with this book Davis creates her own map to navigate the wild landscape, demonstrating a unique connection to the earth beneath us.

Amazon description

After 278 posts, the vast majority of them reviews of magic realist books, I have rather run out of steam as evidenced by the low number of reviews this year. I don't want to stop posting on this blog, as I get great pleasure from sharing with you. But I have decided I need to make some changes - one is a bit of a break from reviewing novels. I will still review a magic realist novel when I read one, but I want to diversify. I have already reviewed an exhibition and a theatrical production, but there is one literary form which I have yet to review and yet it is ideally suited to inclusion in this blog and that is poetry. Of course this will require me to gain new skills and approaches, but then I need something new. I just ask that you bear with me as I find my way. 

The back cover of Kate Davis' poetry collection states Kate Davis writes magical realist poems, born of the hills, marshes and coastal edgelands of south Cumbria. And she does so wonderfully. 

The suite of poems The Girl Who Forgets How To Walk is the central section of the collection. It focuses on the story of the girl with polio. The beginning and concluding sections are made up of poems which complement it, being more focused on the landscape, its history and archaeology of Cumbria. These poems, while providing a setting to the girl's story (before and after her illness), do so much more.The girl's body afflicted by polio and the landscape mirror each other - 

We never speak of it, but here we know the land can't be trusted.

But the relationship between the Cumbrian landscape and the girl is a complex one. She wants to find the footpaths for herself. When she is shown geological maps she sees what is inside herself instead of seeing what is in the earth. In one of my favourite poems the members of the family are described as different rocks - 

Our mother was a stony outcrop,

our father a cobble chucked in a pond

and sunk.

A few poems, such as the one where she sees people floating in mid-air, are very obviously magic realist. But as I have written so many times magic realism is a sensibility and nearly all these poems share it. 

One of the joys of this work is that while Kate David deals with a highly personal and difficult issue she does so in a way that is joyous and even at times humourous. 

I recommend this collection to you.

Ultrasound

Ultrasound

(To my unborn son)

Refracted by water

like a silver fish,

not pausing beneath sounds,

turning which way.

Through darkness,

through warm waters,

and the constant beat of my heart,

you flash fast.

“We’ve a wriggler here,”

she said,

seeking you out

like a shoal of cod.

The suddenly you are still

and stand clear

upon the screen

– a small child

with head and flickering heart.

We measure the circumference

of your skull,

your femur and spine.

It is not time yet

to draw you in,

into this cold airbound world.

This poem was first published in The Rialto