BY JAMIE McKENDRICK, JENNIE CARR AND MAYA CATHERINE POPA
On FRIDAY 6th JULY, from 6.30-8.30pm
At the Quaker Meeting House, St. Giles, Oxford;
Tickets at the door – £4
Doors open at 6.15pm. Refreshments available.
For details please email firstname.lastname@example.org
Jamie McKendrick has published six books of poetry, including The Marble Fly (O.U.P. 1997) which won the Forward Prize and, most recently, Out There (Faber, 2012) which won the Hawthornden Prize. A selected poems, Sky Nails, was published by Faber in 2001, and a new Selected Poems was published in 2016. Clutag Five Poems Series published his pamphlet Repairwork earlier this year. His translations from Italian have won the Oxford-Weidenfeld prize and the John Florio prize. Penguin Modern Classics have published his translations of five books by Giorgio Bassani and his translation of The Heron is due in 2018.
Jennie Carr has lived in the south and north of England and for a time in New Zealand. Her poems have appeared in various journals including Poetry News, The Cannon’s Mouth, Brittlestar, The Frogmore Papers and Oxford Poetry and in the anthology The Book of Love and Loss (Belgrave Press 2014). She won first prize for poetry in the 2016 Brittlestar writing competition. In 2018 she won the Littoral Press nature collection competition with her collection A Tilt in the Year.
Maya Catherine Popa is a writer and teacher in NYC. She is the recipient of the Poetry Foundation’s Editor Prize and winner of the Hippocrates and Gregory O’Donoghue Prizes. Her chapbook The Bees Have Been Canceled was a PBS summer choice in 2017. Her second chapbook, You Always Wished the Animals Would Leave, was published in March 2018. Her poems have appeared in PN Review, Tin House, Kenyon Review, Poetry London, and elsewhere. She teaches English Literature and directs the Creative Writing Program at the Nightingale-Bamford School in New York City.
Home Thoughts from the Red Planet
It was considered weakness to look back
so they didn’t speak of it, but images
spored inside their heads and spread
across their dreams at night. Some stashed
files, chose rare fonts – as if to keep the past
alive more vividly. Some wrote of trees;
oak, aspen, cypress, silver birch, pelts
of balsam fir across a mountain range,
the shape and texture of a leaf, the vibrancy
or calm of some particular shade of green.
A man described a wheat field ripening under sun,
the weight and sea-sway of wind-pulled crops.
A woman, haunted by cycles of return, explained
the pattern play of swallows in an autumn sky;
how they forage on the wing, the skim and swoop
of cobalt feathers across the surface of a lake.
Another recorded the last bee she’d seen, a red carder,
and sketched it in the margins of each page.
Through all their notes the memory of blue
in all its myriad shades, repeated and repeated.
Judge: Jane Draycott
1st: Home Thoughts from the Red Planet, Frances-Anne King
2nd: Vital Signs, Lesley Saunders
joint 3rd: Flash-flood/Quilt, Chris Poole; and Security Alert, Susan Wood
Commended (in no particular order): Sea Change, Sasha Rasmussen; Gravity Anomalies, Rowena Warwick; Expect Extreme Weather, Pat Edwards; Deception Island, Catherine Faulds; The Ignorance of Fish, Afric McGlinchey; Unripe, Jemma Borg
1st: The Hunted, Imogen Phillips
2nd: Everything’s Fine, Daisy Stillborn
3rd: Gone, Abigail Hawkesworth
Saturday 9th June, 2018, 10.30-4.30
St Hilda’s College
For the third annual Science Poetry event, organized by me for The Poet’s House Oxford and Sarah Watkinson for St Hilda’s College, we are delighted to welcome guest poets Carrie Etter and Philip Gross to read their work and lead a plenary discussion on the creative common ground linking poetry and science. The discussion will be chaired by Sarah and the event introduced and compered by myself and St Hilda’s lecturer Elsa Hammond. This year SciPo will be broadly themed around the topic of Climate Change, and will include a free-to-enter poetry competition judged by the distinguished poet, Jane Draycott, with winners invited to read at the event. The day will end with an open mic session. Do bring a science-related poem of your own to read. We look forward very much to sharing another SciPo with you.
Tickets: £35 – Click here to book, and for competition entry form and rules: http://www.st-hildas.ox.ac.uk/content/scipo-2018-meeting-science-and-poetry
Carrie Etter holds a BA from the University of California, Los Angeles and an MFA, MA and PhD from the University of California, Irvine. Her poems have appeared in The New Statesman, Poetry Review, The Rialto, The Times Literary Supplement, and elsewhere, while in the US her poems have appeared in The Iowa Review, The New Republic, Seneca Review, and many other journals. She is also an essayist and a critic. Her reviews of contemporary poetry have appeared in The Independent, The Guardian, and The Times Literary Supplement, among others. Etter has published essays on Sherman Alexie, Peter Reading and W. B. Yeats. She won the London New Poetry Award for a best first collection published in the UK and Ireland in the preceding year, for The Tethers. In 2013 she received an Authors’ Foundation grant from the Society of Authors for work on her third collection, Imagined Sons, which went on to be shortlisted for the Ted Hughes Award for New Work in Poetry by the Poetry Society.
Philip Gross has won major prizes including the T.S. Eliot Prize for his collection of poems, The Water Table (2009), an Eric Gregory Award (1981) and the National Poetry Competition (1982). He has been judge for many poetry competitions – in 2014 judging the Hippocrates Prize for Poetry and Medicine, the Magma Poetry Competition and the Medicine Unboxed Creative Prize. His earlier poetry collections include The Ice Factory, Cat’s Whisker, The Son of the Duke of Nowhere, I.D., The Wasting Game – all collected in Changes of Address: Poems 1980-98. Of his more recent work, the Poetry Book Society selectors wrote ‘At the heart of all of Gross’s collections has been his deep enquiry into and fascination with the nature of embodiment and existence, what water is and does in The Water Table, the role of language, and speech especially, in identity and the self in Deep Field and Later. Now in Love Songs of Carbon Gross tests and feels his amazed way through the mysteries of the multiple manifestations of love and ageing.’
Sarah Watkinson is Emeritus Fellow at St Hilda’s College Oxford and at Oxford University’s Department of Plant Sciences, where she researched and published extensively on the molecular transformations by which fungi play key roles in the terrestrial carbon cycle, and won an Oxford University teaching award for her course on Molecular Microbial Ecology. She is lead author of the internationally respected textbook, The Fungi, third edition 2016, Elsevier. Since gaining the Oxford University Continuing Education Diploma in Creative Writing in 2012 and becoming a student of The Poet’s House Oxford, her poetry has won the Cinnamon Press Pamphlet Prize for Dung Beetles Navigate by Starlight published in 2017, and won or been placed in competitions judged by Carrie Etter, David Morley and George Szirtes, as well as appearing in anthologies and magazines including Antiphon, Ink Sweat & Tears, Litmus, Pennine Platform, Under the Radar, Rialto and Well Versed.
I was interviewed yesterday for a film about Nancy Sandars who produced the first accessible, poetic-prose version of the Epic of Gilgamesh in English. As she was also a poet herself she was able to connect with the strange lyricism at the core of the epic, rather than producing another scholarly version. It was published in 1960, sold over a million copies and is still in print.
My kitchen turned into Babylon one sunny morning when Mike Tomlinson and Rebecca Huxley came to film the interview with me about Nancy Sandar’s acclaimed version of the Epic of Gilgamesh on 21 February, 2018.
I will be talking about my research for Gilgamesh Retold and reading extracts at the lovely, intimate Hearth Festival, Gladstone’s Library, 11.45-12.45, Sunday 4th February –
Join Jenny Lewis as she talks about the great Epic of #Gilgamesh and how it inspired her to rewrite her own version of the ancient Akkadian poem, forthcoming from @Carcanet https://t.co/of0yNs7epm pic.twitter.com/WXvFNLdSI2
— Gladstone’s Library (@gladlib) January 13, 2018
A long day’s journey into morning for me and a night to remember for the rest of my life – 20 November 2017, the world premiere of the wonderful opera by composer Gennadyi Shiroglazov – How I Became an Amazon – based on my book When I Became an Amazon (Iron Press, 1996; Bilingua, Russia, 2002) with brilliant Russian translation by Natalya Dubrovina. Soprano Olga Popova, from the Tchaikovsky Opera and Ballet Company, sang my words in English with such power and beauty it was hard for me to read the poems in between without tears (be strong and focus!) The 30-strong chamber orchestra was conducted by Valery Platonov. My deepest thanks to them all and to our interpreter and translator, Larissa Galanova, for enabling me to understand and communicate and to Serge Lepi and Elena Musihina for their wonderful photographs.
PHOTOS BY SERGE LEPI: Olga and Jenny performing; Gennadyi takes a bow; Audience applause; Valery Platonov; Discussions with translator; Violinist; harpist; cellist (ALL ATTACHED)
REHEARSAL PHOTOS BY ELENA MUSIHINA