Stephen Oldfield

CONFUSION SUITE sign this (can you use this?) * the grass is always greener on the other side of the screen * * 'climb out of the small print and up into the flagrant caps' * there are details you notice not getting on with it on Hollingworth lake the eights prang the rowing boats or used to (they sliced the water the cox’s nose his rudder) * sign this you could use the money or at least the soap * over amplified music/the notes each have pastry on * use the grate outdoors if you must * every thing has a vice-versa and some things only that * I can't even hallucinate straight * 'there has to be something else to account for it I mean chemicals do have a little dignity l wonder if there's a top to his head under that hat' * listen I'm not trying to prove anything and if you look at it another way * Parameters? bear in mind that rabbits are civilized and a bird in the cat is worth how much is a tin nowadays? * I'm just s


a capture from an interview with Michael Schmidt: Carcanet did not exactly change direction in 1987 but when we took on the poetry of John Ashbery there was, as it were, a second direction running parallel to, and occasionally colliding with, the first. I became much more interested in experimental writing—not the kind that has its being wholly within the walls of universities and is the fruit of literary theory, but the kind that grew out of an experience of language at fruitful odds with convention and sometimes with itself—so there was the New York School, and some of the poets we already published began to loom larger for me—Christopher Middleton, Edwin Morgan. It was a wonderful time: I think writers like the great Irish poet Eavan Boland, whom we have published since 1987, felt more at home in this broadening list. I know I did, too: all sort of temptations could be succumbed to with a sense of righteousness rather than sin. This did not lessen my commitment to the original dir


Bulletin (March 2021) (AD) we have frozen the length (to reach a cover price agreed with the publisher) and are getting closer to the end. A few elements are outstanding. The contents may have to get cut again if the typesetting affects the page count we have set up. We are trying to collect Plaudits to adorn the back cover, without sending out masses of copies of the text, which would make it too freely available. Rumours have reached us that a rival anthology, Custodial Ragwort , has been set up to include the poets we left out. Edited by Norval Osbick and Fifi Blunkett-Adorno. Naturally they claim that they were first, and we are a splinter group of poets excluded from ‘Ragwort’. Yet a third breakaway/eject anthology, Treuhand Arcade , has been announced, to include little-known poets of the conservative wing. Analysis of Harry's statements [see previous post] shows him listing a whole generation of poets, as the horizon visible from Strongpoint Gilonis. Of our 25 poets, h

Gilonis speaks

Below is a set of replies from Harry Gilonis to questions previously published on this website. The directive here is to find what the poets think so that the prose accompanying the anthology does not shock/ annoy them beyond a certain threshhold value. Obviously, if only 1 of 23 poets (excl. the editors) responds, we don't disengage a clear image. Not at all! Do you have comments on the Intro? I have not seen anything formally thusly designated, so, erm, NO. I can comment on  The Leisure Complex of Discontent  which gesticulates towards such a thing... poets emerging 1980-95 I would avoid the phrase ‘Poets on the Underground’, if I were you... The anthology, alas, appeared in 1999 from Wesleyan University Press: eds. Richard Caddel and Peter Quartermain,  Other: British and Irish Poetry since 1970 . It contains three of your victims, and five more who should be, i.m.h.o.. of course, a third of the book, the ‘70s crew, are irrelevant to your concerns; and there’s a bit (not m

further reading

Further reading version in progress This is not a complete list and we recommend the British Library catalogue for anyone who wants to see every title. Don't Start me Talking is a book of interviews with poets. An essay on some of these poets is at Nigel Wheale a large selected poems is Raw Skies (2006). An autobiographical account in Poets on Writing (1992). Rod Mengham Unsung was a large retrospective from Salt in 1996. Chance of a Storm came out from Carcanet in 2015. interview in Counter Texts magazine, 2018. Edited Equofinality magazine (from 1981) and edits the Equipage pamphlet series (120 titles to date). Adrian Clarke many books going back to Ghost Measure . Possession (2007) was a selected covering one decade. Excess Measures (2015). Millennial Shades and Three Papers includes theoretical statements. Was a founding editor of Angel Exhaust. Andrew Lawson We have little of his poetry to go on, since he withdrew


This project began with a session in the Museum Tavern, in 2015, with Simon Smith, where Simon announced the idea of the anthology. A long time has passed, and we are close to fruition. Almost all the poets have been contacted, and some of them have even said Yes. A long and fruitful phonecall with the publisher, on 5 March, has clarified the final form of the book. Confrontation with the projected cover price has obliged us to look more carefully at the extent, and a lot of the prose carefully written up over the past few years will have to be scrapped. One response to this: "so far it has been euphoric... wandering through a superstore and piling up 8 trolleys full of luxury goods...running people over... then you get to the check-out and realise your card limit is going to go BLINGG. what do you say... "look at all the things I DIDNT buy"." Frantic activity backstage... but it is clear that the project is close to its final form, of a book that you can hold in

Further on Rustbelt

Further on Rustbelt (AD) Few comments are coming in and people seem to prefer to discuss via email, which after all means that only one person is going to see it. I am going to display a few of these, anonymised. It has been suggested that we include Michael Blackburn. I admit to not knowing who he is. We will be looking at his poetry, although the book is probably closed by now. >>I missed the Paladin (1988). Remember buying a 2nd hand copy of Allen Fisher’s Stepping Out in somewhere like Bingley in 1992 or so and being utterly baffled. My epiphany came later, at the end of the 1990s. What you say elsewhere about the strain of containment in the Paladin is very true - there’s the black ghetto in there as well as the women's, and that’s what struck me most about it. << So, we talked about the 1988 ‘new british poetry’ as being a moment when the Underground was in the High Street, and so where there was, or could have been, an “official underground”. But, our inform