Thursday, 21 April 2011

Guest Blogging at The Rialto

You can find me over at The Rialto today talking about poetry in education, and the education in poetry [see what I did there?].

During the day, when I’m not writing, you can find me running an antiquarian bookshop in North London, surrounded by piles of old books that threaten to topple over and make me go splat... [continued]

Author Visit: Kate Kilalea

Hello everyone. Thank you very much for all the get well messages, I really appreciate it. I'm home from hospital and on the mend.

Today we have a swift visit from poet Kate Kilalea. Her wonderful poetry collection 'One Eye'd Leigh' was published in 2009 by Carcanet and was shortlisted for the Costa Award. I met her at wordPLAY and really enjoyed her collection when I read it a couple of years ago, and have recently revisited it.

What does poetry mean to you?

I don’t know – it’s the kind of thing one just knows. But it’s a lovely thing to think about, like: “What would it be like if I were suddenly very rich?” Or, “What does love mean?”

When did you first start writing?

I remember very clearly the first poem I ever wrote. It came to me one night, lying in bed, when I was about thirteen. Suddenly a series of phrases started to circle in my head. They went: “Standing at the crossroads / I watched the world go by. / Nobody sees the standing figure / but it feels their laughing breath.” I felt the need to get up and write them down, partly to be able to go to sleep, and partly so I didn’t lose them. I don’t think I ever showed that poem to anyone because I was so mortified by the possibility that people would think I was unhappy.

How was it that your first collection was published? What was your journey to that point?

A few years ago, I sent a set of poems to PN Review. They happened to land on the desk of Michael Schmidt, who is the editor of PN review, but also the editor of Carcanet. He wrote back asking to see more poems, and whether I had any plans to publish a book.

Which authors/poets/people would you say have influenced you and your work?
I think there are two types of influence - influence “to write” and influence in “how to write”. Writers like Proust, Mann, Nabokov and Pamuk are influential in the way that they prove that writing is a serious thing. Stylistic influence varies. At university, under the influence of my creative writing lecturer (a well-known South African lyrical poet) I wrote almost exclusively about sad love affairs and sad landscapes. These days, my day job involves writing for architects. There is a pragmatism and economy about the way architects express themselves - the writing is descriptive rather than evocative – which is something I drew from in ‘One Eye’d Leigh’.

What has been the proudest moment of your writing career to date?

I’m very proud of a sequence of poems I wrote called ‘Hennecker’s Ditch’.

What would be the ultimate achievement for you?

I think I would like to write something which was dark and frightening. I would like to write a novel too.

Are you able to tell us what you’ve got in the pipeline at the moment?

I’m working on a poem about a man who gets great pleasure from walking underneath tunnels of trees. The poem also has something to do with the way I felt when I was reading Nabokov’s ‘Speak, Memory’.

Making a living as a writer, a poet especially, is extremely difficult. How do you find the determination to stick to your craft? When do you find time to write?

I’m not really a poet. I’m a publicist who writes poetry. Once, I gave up my job and tried to be a poet, but getting up every morning with nothing to do but write felt like stepping out of the world and into a kind of madness.

If you could give one piece of advice to an aspiring poet, what would it be?
I think I might say something along the lines of trying to abandon expectations and hold yourself open to the possibility of things being however they turn out to be.

In our book forum, we have a Poetry Tree, where members post their favourite poetry books to each other via snail mail. If you took part in this, which poetry book would you chose and why?

I think it would be Thomas Mann’s ‘The Magic Mountain’. It’s not poetry, but I think people who read it come out differently the other side.

Finally, could you give us a stanza from one of your poems from ‘One Eye’d Leigh’ as a taster?

We started this discussion
with me, coming home over the docks, noticing how a round window
lighted from within, looked like a moon.
So many moons coming through the city.

(From ‘Alfred’)


A wonderful example of original writing. She develops forms, illustrates objects, creates portraits and experiments stylishly with noticeable passion. A delight to read.–
Poetry Review

[Kilalea] illuminates ordinary events with arresting imagery...The most striking feature of this writing is its sure-footedness, its effortlessness. – Ambit magazine

It's noticeable that a debut volume like Katherine Kilalea's One Eye's Leigh is [...] consistent throughout, and is vigorous with inventive ideas, colloquial voices and formal energy. - Ian Gregson, Stand Magazine

click here to buy a copy of 'One Eye'd Leigh'

Wednesday, 13 April 2011

My First Love

[blimey, two posts in one day!]

In February I was approached by Paper Aeroplanes, asking me to write a short story to be released with a single from their new album We Are Ghosts, called 'My First Love.' I really loved their first album The Day We Ran Into the Sea, so I said yes.

The single itself will be released next week and will be available to download. There are also 100 limited edition CDs with a copy of my story, which will be sold through their website as well.

In the mean time, if you share this video here on facebook and comment on the link itself then you're in with a chance of winning a free copy of CD/story package.

I'll pop back next week with a link to where to buy the song/story if you'd like to. Go forth, they really produce wonderful music. You can read a review of their lastest album over on BBC Music. xxx

The Rialto & Kent and Sussex Poetry Competition

I'm very chuffed to say that two of my poems ['What Happens When I Go Home' and 'Bible Camp'] have been accepted for publication in The Rialto. I aime that publication very much indeed. That'll be out around May.

My poem 'Kitchen' has also placed in this year's Kent and Sussex Poetry Competition, judged by Jo Shapcott. Hurray! Sadly, I can't make the awards ceremony next week because I'll be in hospital [booo], which is a shame because I would have liked to meet Jo Shapcott and the other winners. Though I suppose one can't moan too much about a cheque in the post.

So yes, very happy news, please do a little dance with me on the desk.

On Sunday I'm heading up to Newcastle for my hand operation. But don't think I'm abandoning you; I have an interview with Kate Kilalea [author of the collection 'One Eye'd Leigh'] lined up for next week once I'm home. I can interview one handed. What a skill. See you on the other side.

Monday, 4 April 2011

Poet Visit: Hannah Lowe

Hannah Lowe was born in Ilford to an English mother and a Jamaican-Chinese father. She has lived in Brighton and Santa Cruz, California. She studied American Literature at the University of Sussex and has a Masters degree in Refugee studies. Currently she lives in Brixton and teaches literature at a college in Islington. Her poems have appeared in Ambit, Acumen, Magma, Rising, Smiths Knoll, The Delinquent, The North, The Rialto. Her poems have also won prizes, commendations or been shortlisted in a number of competitions including Aesthetica Creative Works, The Arvon International, Bridport and Sentinel Literary Journal. 'The Hitcher' is her debut collection, published by The Rialto as their fourth Bridge pamphlet.
 You can also catch her at Cley Little Festival of Poetry on May 28th.


Hi Hannah, thanks for stopping by and agreeing to chat with us. Please make yourself at home.

Hi Jen. Thanks for having me!

I've just pre-ordered a copy of your poetry pamphlet 'The Hitcher', and I'm looking forward to it arriving on my doormat. I really enjoyed your poems 'Fist' and 'Caterpillars' in the most recent issue of the Rialto, and I spied your poem 'Chloe's Phantom' over on Ink, Sweat and Tears, and 'Ink' [which I love] which came second in the SQL competition:

'Tor’s off to The Night of the Senses’ annual ball to collect her award./We buy a sailor’s hat, a corset, seamed white fishnets/ from a market stall in Elephant.'.

So, what can we expect from 'The Hitcher'?

The poems in the pamphlet are mostly directly or tangentially related to my life, but are really concerned with experiences we all have: love, the loss of love, happiness, grief. I would say there’s a strong emotional content to my writing, which often revisits the past. Some poems go back to my childhood, when my father was alive, and re-create moments in our relationship. This said, my poems aren’t all sad and serious – the tone is sometimes ironic and often self-deprecating.

I grew up in the bit of Essex that borders east London, and have lived in or around south London for the last 15 years. That urban context is certainly there in my writing – the city is the backdrop for many of the poems.

In terms of style, some poems are free verse, but others are more traditional in form. I’m particularly drawn to writing in terza rima. There’s a few poems about journeys in the pamphlet that use this tumbling rhyme scheme to create a sense of movement.

How long has it taken to write, from the first poem in the collection you wrote to the last?

Funnily enough, the title poem “The Hitcher” was the first poem I wrote, the last in the collection, and the first poem that received magazine publication . That was in the summer of 2009. The most recent poem is “English Widows in Beautiful Gardens”, written last Autumn. So just over two years all in all.

Could you pick a favourite poem out from your pamphlet, give us the story behind it, what inspired you to write it, and give us a sneak preview with a couple of lines?

“Those Long Car Silences” is a poem that is important to me. I often regret that I didn’t talk to my father more about his life when he was alive. We spent hours in the car together - him giving me lifts to places, or driving to see family on the other side of London, or on errands. Often when I think of him, or dream about him, he’s waiting in the car for me, smoking a roll-up. But we rarely talked, sat side by side together in the car. Here are the opening lines:

All those long car silences, the miles and miles
you drove me through this city, strange words
lit up in neon, Lucky House, The Taj Mahal, Halal

I kept my voice held back for nothing
but to punish you. I see us from the outside now

Poetry has allowed me to go back and in some ways, give us both a second chance. At the end of the poem, I dream myself as an adult and my dad still waiting for me in his car, but the silence is comforting and familiar, rather than wasteful.

When did you first start writing?

I started writing relatively late, around four years ago. I’m 34 now. I was teaching an anthology of poetry for A level English, and found myself more and more drawn to reading poetry, and then wrote one or two myself. I found writing really pleasurable and exciting. Surpisingly so. I signed up for a course at the City Lit, and went from there. I often feel regretful that I didn’t start writing earlier, in my twenties say. But I also think my life experiences brought my to writing, and that it wouldn’t have happened in any other way.

When an idea for a poem first comes to you, what form does it normally take? An image? A phrase? A memory?

Ideas for poems come to me in all sorts of way, but most commonly they are sparked off by reading other poems. I often find I’ll read a line from a poem and an idea will jump into my head not necessarily related in subject matter, but perhaps in tone or voice. This, for me, is an essential facet of writing poetry. If I want to sit down and write, the first thing I do is read.

Which poets have inspired you most?

The American poet, Philip Levine is by far my biggest inspiration. He’s in his eighties now. His subject matter attracts me. He has often written about the lives of the industrial poor in Detroit, his hometown. He also writes beautifully about his childhood and family. He has such a distinctive voice, rendered so naturally, although I suspect I lot of work goes into creating that effect. I’m a great fan of American poets – CK Williams, CD Wright, Charles Simic, Stephen Dobyns, Jack Gilbert. Anne Sexton’s confessionalism certainly had a big impact on me when I first read her work.

Many of my poems tell stories and I’ve looked to the poetry of Michael Donaghy to learn about narrative. I have a tendency to be too wordy, so I try to read sparer and more distilled writing for inspiration. I love the lyric poetry of John Glenday, the Scottish poet, for example.

Part of the focus of my current writing project is on Jamaica so I’ve been reading as much Caribbean poetry as I can get my hands on. Derek Walcott, of course, and James Berry, but also younger poets like Kei Miller, Tanya Shirley and Christian Campbell, the Bahamian/Trinidadian poet who won the Aldeburgh First Collection Prize last year.

What do you consider to be your greatest achievement to date?

I’m very pleased to have had my pamphlet published by The Rialto. That’s a great achievement for me. I’ve won a few prizes too, and that’s been very satisfying. I feel my greatest achievement, however, is learning how to write poetry. I’m still learning, but writing has become a little easier for me – still challenging, but I feel I have more tools at my disposal now. Learning how to write metrically and formally have been key for me. It’s hard work, learning to write, but deeply pleasurable too.

What do you think's special about 'The Rialto'?

I think the Rialto is a great poetry magazine that publishes a good mixture of high quality poets, both well known and new. I think there’s often great heart in the poems that Michael Mackmin, the editor, chooses for the magazine. It’s also an innovative publication. For example, the last two issues have featured a special selection of poetry by poets under 35. The magazine is beautifully produced too. I’ve been really proud to have my poems in there.

On our book forum we have a Book Tree, where members choose their favourite books and post them round to the other members in a circle, so that when they get their books back their copy is filled with comments from everyone who has read it. If you took part in our Book Tree, what book would you choose, and why?

Ah, that’s a hard choice! There’s a few poets I always go back to – one is Jack Gilbert, an American poet, although he lived for much of his life in other places, often in seclusion, and has published rarely. His writing is characterised by a simple lyricism and clarity. He writes very powerfully about his life, describing himself as a “serious romantic”. His poems about relationships and how they end are incredibly powerful. I think the simplicity of his writing has a broad appeal – I’d love to know if other readers are as affected by it as me. The book I’d choose of his would be “Refusing Heaven” published in 2005.

And, finally - what are your plans for the future?

I’m currently working on a manuscript that I hope will become a first full collection. It’s based on the life of my father who was half Jamaican, half Chinese and came to England in 1947. He worked for most of his life as a croupier and gambler in the East end of London, so I’m writing poems about Jamaica and migration and gambling! I’ve been doing lots of research. It’s a very interesting time for me.

Thanks Hannah, and good luck with your manuscript!

** Since this interview, I have received and read The Hitcher, which I thoroughly, thoroughly recommend.


Hannah Lowe’s poems are hugely enjoyable, full of life as it is really lived, and manage to be completely unpredictable and yet at the same time utterly inevitable. She is an immensely talented writer, and this is an outstanding first collection. – Peter Sansom

Hannah Lowe is a wonderfully evocative and lyrical writer. She handles form with an easy confidence but she is also a refreshingly able storyteller. With the publication of this pamphlet, Lowe will surely be recognised as one of the most exciting new voices in British poetry. – John Glenday

Every now and again there arrives at a poetry magazine a poem that clearly announces a new voice. At The Rialto I think immediately of Peter Sansom’s ‘The Fox In The Writing Class’ or Clare Pollard’s ‘The Heavy Petting Zoo’. ‘Fist’ which starts off Hannah’s pamphlet is another such work. ‘Here’ it says ‘is someone with something to say, and in brilliant command of the means of saying it.’ – Michael Mackmin

You can buy 'The Hitcher' for £5.50 including delivery by clicking here


You can also subscribe to The Rialto for £19 for a year's subscription, by clicking here.

Saturday, 2 April 2011

beautiful words

Some poetry collections I've read in the past month which I'd particularly recommend.

'It was before or after I bought the white halter,
I don't remember, but that summer I went platinum.
For ten bucks more, they rolled it and set me under
a dryer facing the street.'

[Extract from 'Elegy for My Old Urgency']

Mistaking the Sea for Green Fields - Ashley Capps


'...or, maybe, she's not out of the woods yet
and her hair went white,
slim-picking through the neighbourhood bins.

In Prague, an astronomer saw a light in the sky
and christened it for her
- and his mystery blonde girlfriend - '

[Extract from 'The Goldilocks Variable']

Birdhouse - Anna Woodford


'The sheep bow their heads
because they must go away
indefinitely. They are tired
of the sky resting on their backs'

[Extract from 'Wool']

Reveilles - Nathan Hoks


'This afternoon I lie about new steps
I've learnt or old ones I recall. I go
into your arms like this, sticky with deceit.
Learning, you must be led and so we dance
across the lines I've traced into the rug...'

[Extract from 'Caterpillars' by Hannah Lowe]

Rialto 71 - literary magazine. Ed. Michael Mackmin.


'A child is a clay piggy-bank
shaped as a cat or a pig
with its back rough or smooth,
and a narrow slot in the head.'

[Extract from 'Five Poems' by Vera Pavlova]

Poetry London Spring 2011 - literary magazine. Ed. Colette Bryce.


& most of all, this beautiful collection which I completely fell in love with.

'Fires across the coin. Elements move through. Conkers - from
conquer. Her coats sold for daughters.'

[Extract from '46.']

'Clear water in a glass. Enters the mouth through the ear.

[Extract from '49.']

'When I put my head under water where does the ocean go?
Will you take a picture of me there? On the ledge? Or the sun?'

[Extract from '26.']

Folklore - Tim Atkins


Go forth and source these gems! And if you have any recommendations for me, please do shout out. I'm just about to get my teeth into The Hitcher, by Hannah Lowe. Who, actually, will be over here next week for a chat. x