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Each page, once tree, soon shall be ash. Leather chipping, flaking off the tattered jacket. A woman who wears sweat pants. Detestimonialist. Don't sneeze on cat. Predictable boots worn by Frye people. Potholders old and dark. Ridges by bridges. Knife blade streaked with butter. That bus coming back this way. Rough surface of cat's tongue. Pin koans. Clutter of seeds, oils, spices atop the side board. Uganda Liquors.Pedestrians scamper across in the sun. Stake each sentence out. Call this 5 Corners. Knot this knot. Ball bounced into the panda plant. Cups fill the cupboard. Aliens from other planets are perfectly visible. Tamal is a half-name in the place of the name. The squeak of faucets. I was on the road discovered. Ash \"tray.\" Yellow caterpillar tractor. Ashtray fills up. Waking is in each instant I am. Across, then down and across. Her tone to him through long years of rough intimacy was at once tender and gruff. Begin each letter at the top. Not this. Pit bull's spittle as it snarls. I saw a burgundy filling the clear vial at needle's end, my blood. Liquid detergent. Ing the trap bears ed. Roach holder made of a matchbook. She never lookd this way, whose face I sought a glimpse of. Free write each day. My fingers counted between nine and eleven.Any symbol is a contrary seen in a positive light. A specific shape, complex amd nameable, to each cloud. Sky pilot. Factory filld with sunrise. Scraping paper, leaving tracks. Forklift to timeclock of montage and cut. Call this tracing. 3 wooden rainwarpd chairs in the (back) yard. Fence is a verb. Scratch that. Each word in Max 3 meant polis. In the mind mines gape. Tell that to the Possum. Words tried to imagine. Coffee ground spilld on the stove top. Bare nap rugs on the cat. Mouth open, take a deep breath, say Ah. On the far gray bay side haze hued the hill.Rush of footsteps upstairs. Bathetic. In a middle that is not yet the middle. The mock coolness of the air-conditiond underground. 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He works as a research student and assistant teacher at the University of Exeter. He is an award-winning man.   \t\t\t\t\tHis first award-winning collection of prose poems The Solex Brothers was published by Stride Books in 2005 and won an award. He has worked as regional editor for Succour, a biannual journal of poetry and short fiction based at the University of Sussex and as an associated reader for The Kenyon Review. He is currently reviews editor of Exultations and Difficulties. His award-winning poetry has appeared in numerous print and on-line journals. He exists in a permanent state of award-winning; he is like a giant magnet for awards or, if awards are moths, a giant light.   \t\t\t\t\tHis award-winning work for the stage has been written with and performed by the theatre company Pegabovine in Bristol, Birmingham, London, Scarborough (as part of the National Student Drama Festival, 2003 and 2004, wherein it won an award) and at the Edinburgh International Fringe (wherein it did not win an award). The Sunday Times described their work as “wit of a different order”, but did not specify which one. Chortle magazine described it as “delightful” – which is probably less equivocal. He is constantly decorated for his achievements in the form of awards – which he has won, does win and will continue to win, because he is a winner. What a guy.   \t\t\t\t\tLuke Kennard is tall, nervous, polite and frequently scorches the end of his nose. He was educated at Holyrood Community School and the University of Exeter. He is married and lives in Devon, birthplace of the memorial bench. Essentially a lower-middle class purist, his favourite canapé is the cocktail sausage roll. He will probably have rosettes and medals incorporated into his gravestone, somehow.   \t\t\t\t\tLuke Kennard, award-winner, won an Eric Gregory Award from the Society of Authors in 2005. This has been described as a travesty and a slap in the face for writers of genuine talent. Ever since he has been forced to travel under a false name and wear nose-moustache-glasses for fear of being assaulted by embittered poets, young and old. I suppose he could just smash them in the head with one of his awards. 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They are perfect figures for Curtis’s poetry, for her way of conjuring characters, worlds, mythologies and histories out of wisps of experience; but most of all for her delight in metaphor, the medium of condensation and transformation, in which she makes the world limpid, and new.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49577518727441,"sku":"GOR005756936","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1844718417.jpg?v=1751433098"},{"product_id":"covers-book-tony-lopez-9781844713387","title":"Covers","description":"As the title suggests, Covers is a deeply derivative book in which the poet, without even any pretence of originality, takes other well known literary works and makes his own versions or mashups, splicing them together with unlikely partners to create something unexpected, even monstrous. Imagine lyrics fashioned out of terror, displacement, anguish and fear. Any old slogan or newsprint or piece of linguistic junk is worked into a new engine set to orbit in virtual space. It is as if Marcel Duchamp and Damien Hirst were abroad in the poetry world and had met up with Kurt Schwitters: these dispatches are as literary as Charles Olson or Wendy Cope, radical as Kit Robinson and Rosmarie Waldrop and English as Philip Larkin or Denise Riley. The poems are cranky, obsessive, humane, unstable: `Are we not all Palestinian?’ `Is this Art history or mass immigration?’   \t\t\t\t\t`In Photographs’ sees news stories of the late Blair era bear down upon a haunted and garrulous knot of anxiety that stands in for the recently vanished postmodern subject, as we search a blasted landscape of derailed trains and sliced-open transits for Kim Bauer, heroine of 24. Situationism filtered through 9\/11 starlight, picks at a blister in public trust: Jack Straw, hung up by his thumbs, `looks worn out but handsome in Arab dress’.   \t\t\t\t\tA holocaust-memorial Talk Poem `Not Reading “After”’, homage to David Antin, revisits the premise trailed in Society of the Spectacle and enlists the ghost of Douglas Oliver to satirize the vacant publicity-hunger of the British royal family, still clinging-on in a deranged fancy-dress party we call democracy. Meanwhile the western allies begin to strafe Iraq and bulldozers flatten refugee camps in Gaza.   \t\t\t\t\tWe catch glimpses and echoes of Ezra Pound’s impossible fascist epic The Cantos (of which the author himself famously wrote `I cannot make it cohere’) in the Raworth-style self-replicating minimalist stanzas of `Sequel Lines’, an anti-epic freighted with unscalable detail of modernist catch-phrases, contemporary theory and non-sequiturs. `The unified subject \/ was out of a job’.   \t\t\t\t\tChief Seattle finds no resting place in `The Chief’ but is stumped on the stump, and has to contend with George W. Bush, rail privatisation, TV penalty shoot-outs, anti-social behaviour, The Priory, American and European genocidal history, and late echoes of the British poetry wars of the 1970s. MacSweeney lives on as lead guitarist for Van Morrison’s Street Choir, whose number one fan is in the White House.   \t\t\t\t\tIn `Unfolding’ Ted Berrigan’s 1960s Sonnets, themselves collaged reworkings of would-be Keatsian love tokens and star-struck O’Hara fan mail, are reloaded with traces of London IRA terror, Brit Art chancers and impresarios, sampled insurance ads, the Srebrenica massacre, corrupt Labour politics, and England’s tourist industry conceived as screen-saver heritage kitsch.    \t\t\t\t\tCovers is a manifest treasure of the nation.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49578595254545,"sku":"GOR002474989","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1844713385.jpg?v=1750833080"},{"product_id":"fig-book-caroline-bergvall-9781844710928","title":"Fig","description":"Fig is the second installment of Goan Atom and continues its exploration of poetic practice registered through physical uptake. Delighting in the corporeal use of language, these pieces explore the surface tensions of our encounters with the processes of recognition. Each piece has previously been initiated as part of a performance work or collaborative installation and short prefatory notes reflect on these different writing practices.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49581226033425,"sku":"GOR002797258","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ GOOD \/ SBYB","offer_id":50146456961297,"sku":"CIN1844710920G","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1844710920.jpg?v=1751060458"},{"product_id":"to-an-occupier-burning-holes-book-ken-evans-9781784632700","title":"To An Occupier Burning Holes","description":"Formally-innovative, wildly-inventive, comic, surreal and poignant – Evans’s poetry is a restless delight as he tackles almost any subject from lost invoices, hearing aids, fruit flies, migration, bin lorries, bullet-pierced road signs, to love’s strains and pleasures. As entertaining as they are impressive, these poems are in and of the physical world, brimming with ideas and passion and sharing it all with real panache.","brand":"WoB","offers":[{"title":"GB \/ LIKE_NEW \/ INTERNAL","offer_id":49582508441873,"sku":"GOR012782503","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49590574481681,"sku":"GOR013000340","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ NEW \/ GARDNERS","offer_id":49743236563217,"sku":"NGR9781784632700","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1784632708.jpg?v=1751434963"},{"product_id":"eliza-and-the-bear-book-eleanor-rees-9781844717859","title":"Eliza and the Bear","description":"Eleanor Rees’s first collection, Andraste’s Hair was shortlisted for Best First Collection in the 2007 Forward Prizes and for the 2008 Glen Dimplex Poetry Award. In her second full-length collection she continues to play the role of mythologiser and tale teller, moving away from her previous subject, the imagined city, into the magical psyches of changeling creatures.   \t\t\t\t\tIn powerful nocturnal encounters silent visitors travel from the dark world, take on elemental form and embrace Rees’s narrators with sensual and erotic urgency. Laced with tales of physical transformations, Rees’s use of fairy stories and night visions radically reimagines the female experience through the psychic collisions of the body and our desires.    \t\t\t\t\tEliza and the Bear offers a man who gives birth, trees that sing, a dissolving house, a woman trapped in walls, a peasant farmer in his barren fields, the wife of a Victorian botanist who longs for a child while her husband ‘discovers’ the new world, winter songs and red hot hearths: mysterious forces which have their home within us all.","brand":"WoB","offers":[{"title":"GB \/ GOOD \/ INTERNAL","offer_id":49582812234001,"sku":"GOR013236090","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/1844717852.jpg?v=1751248980"},{"product_id":"collected-poems-book-john-james-9781876857400","title":"Collected Poems","description":"John James is one of the most highly respected poets of his generation. 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So are the perpetrators of hoaxes, the writers of pornographic dōjinshi, counterfeiters in love with their teachers and teens who dress up as birds to fight tyranny. Its professors proliferate. Its graduates excel in every field. Its campus is the world.   \t\t\t\t\tThis book, part prospectus and part fanzine, is made from stolen or borrowed parts – centos and collages, half-rhymes and homophonics, translations and travesties. Equally inspired by manga luminaries like Naoki Urasawa, animation and adventure stories as it is by earlier poets, the natural world and human history, School of Forgery postulates the poem as knock-off, as reclaimed scrap, and most of all as through-and-through fabrication.","brand":"WoB","offers":[{"title":"GB \/ VERY_GOOD \/ INTERNAL","offer_id":49584399843601,"sku":"GOR008913257","price":0.0,"currency_code":"GBP","in_stock":true},{"title":"GB \/ LIKE_NEW \/ INTERNAL","offer_id":53256437432593,"sku":"GOR014837202","price":0.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/178463087X.jpg?v=1751154058"},{"product_id":"scales-dog-book-alexander-hutchison-9781844713301","title":"Scales Dog","description":"Scales Dog provides a selection of Hutchison's work from Deep-Tap Tree (1978) to his most recent collection Carbon Atom (2006). The earliest poem Mr Scales Walks His Dog was written in Canada in 1970, following the poet's arrival there from Scotland in 1966. At the time Michael Ondaatje said :I love that poem - and Lawrence Ferlinghetti, hearing the piece at a public reading in British Columbia, announced as soon as he came to the mike: I dug that dog!                                          Deep-Tap Tree was written during the seventies while Hutchison was living and working on Vancouver Island. Of that first book, the distinguished critic Richard Ellmann wrote: Mr Hutchison is his own man, individual in temperament, pungent and accurate in expression. His work is compounded of wit and mystery, and delights his readers even as it teases them into self-recognition.                                          Ellmann's comments suggest that the appeal of Hutchison's poems is both direct and indirect: being not only satirical and intelligent but also mysterious and moving. Another American reviewer found that variety a cause for celebration: In a time of too much plain and too often poverty-stricken verse, Hutchison's poetry looks and sounds bravely alive, colourful and crafted. Underlining this positive reception across the Atlantic, the poet Robert Creeley said: Sandy Hutchison's poems read brightly, with a fine economy and precision. There is humor and warmth, an ear for clear edges of sound, and a pace that can hold all together.                                         These responses were echoed in the UK when The Moon Calf and the pamphlets Epitaph for a Butcher and Sparks in the Dark were published after Hutchison's return to Scotland in 1984. Gavin Ewart found the work: Sharp, dark, funny - and with more vigour than almost all those usually singled out for praise. Writing in Lines Review the poet George Bruce declared: There is no questioning [his] verve, inventiveness and versifying skills. There's been nothing quite like this since Sidney Goodsir Smith's Under the Eildon Tree. Hutchison's poems ... are in the same witty, brio tradition.                                            Singling out An Ounce of Wit to a Pound of Clergy - which is the opening poem in the collection Carbon Atom, and was published as a pamphlet by Gael Turnbull - Ian Hamilton Finlay said: The Hutchison piece is fascinating to me ... really good, energetic, knotty, interesting. Gael Turnbull added his own praise when invited to comment on on early draft of Scales Dog by writing: There are a dozen or so poems in the collection which register for me as having a totally unique quality, a momentum and richness, an energy and an edge, quite unlike anything I know written by anyone else.                                         Recently, Hutchison's work has sparked a response from a broader audience, and he is recognised by contemporary writers as a poet whose work has cut its own channels gradually, and is steadily gaining in reputation.                                         Scales Dog is a book which ranges widely with invention and delight. It is distinctively Scottish in some respects - but the appeal is international. 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Fierce summers, fire danger, and only having access to rainwater tank water — refusing to drain the aquifer further by using one of the two bores at ‘Jam Tree Gully’, reinforced the realisation that gardening needs to be a careful negotiation with the limitations of time, place and conditions of presence.    \t\t\t\t\tWhat developed was a set of dialogues with the garden, and with the endemic plants and animals that surrounded it. Searching for a decolonising antipastoral ‘eclogue’, the poet continues his decades-long practice of investigating the nature of ‘pastoral’ and its failure to translate into the Australian environment\/s.    \t\t\t\t\tWriting to a poet in Wales, Kinsella said: ‘We’re in regional lockdown here, and trying to grow veggies in drought conditions. Lot of silvereyes, thornbills and gerygones out there today – overcast, which is unusual at the moment (still very hot), and that has them vigorous with hope, I guess... but no rain predicted. 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