The Guide to Being Bear Aware : my new new book

I'm happy to announce my latest poetry collection will be published with Shearsman Books. The Guide to Being Bear Aware.

More info on the book www.stevenjfowler.com/bearaware and at the Shearsman site.

The book will be launched in London on April Tuesday 11th, 7.30pm, at Swedenborg House in Bloomsbury, with further launches in York, Bristol and Kingston.

"... advice for living in a world gone awry. Wry, violent, contemplative, political, intimate and raucous by turns, these are poems that laze on your lap only to get their claws in. Morphing into unfamiliar shapes beneath the watching eye, these refreshing, quizzical, well-traveled poems forge a world entirely their own”   Sarah Howe

You can read a poem from the book published by Poetry Magazine online here: The Robin Hood Estate : Poetry Magazine October 2016 

"In SJ Fowler’s work, which surprises & delights by turns, I’m fascinated throughout by the fast moves he makes, quick on the draw & changing rapidly from image to image, meme after meme as it were. His is in that sense a markedly original enterprise, but one which carries with it another thrust – toward sharing, even collaboration – that has been central to much of his earlier work.  Here every poem starts off with the words of some other poet (present or past, close or distant) before his own voice enters & takes over, with those other voices, spirits, hovering around.  It is all new as I read him, all special, and I’m drawn to follow him now wherever he takes us."                             Jerome Rothenberg

About the publisher: Shearsman Books, who for nearly three decades have been a home to some of the most extraordinary high modern and literary poets the UK has produced since WWII, have published many poets profoundly influential on myself, from Cesar Vallejo to Fernando Pessoa in English, as well many peers whose work has given me much, from Vahni Capildeo to John Hall.www.shearsman.com

A note on: The University Camarade II

The future is in good hands if this event is any indication. Though ostensibly about pairing students across the country, and allowing them to experiment / collaborate / create new friendships, what it is really about is giving a platform to younger poets who might be locked into the boundaries that come with being a 'creative writing' student or in a university. It's just a way to discover people, to see them shine, and they were really remarkable on this occasion, all 22 poets, from all over the UK. A really resonant evening, all the videos are here www.theenemiesproject.com/unicamarade worth watching.

A note on: Curating the Museum of Futures Visual Poetry Exhibition

I conceived of this exhibition for multiple reasons. The first, I wanted to invest in the place. I've been teaching at Kingston University for a few years and wanted to create a platform in the area, outside of London (just) where those living or studying local felt that not everything was east of them, in the city, that there was some focus on the place as other than a place to visit, but to reside, creatively. Second because I wanted students and faculty from across departments to connect, from across ages and years and practises, and I wanted this to happen in the context of the many brilliant poets and artists who were also not associated with the Uni. Too often we're all in our own boxes, in all things, but especially in the pace of teaching or studying. Thirdly, I had hoped new friendships and collaborative relationships would begin and by placing students work next to those who are ostensibly professionals, that many students would take inspiration from that, would get permission to experiment, to follow their own noses, and that it would as a project show them they could go into spaces beyond the university. This is often a problem too, that students feel too safe at university creatively, and this comes to bear painfully when they graduate. Fourthly I had built some fantastic connections with a specific group of students, both undergraduate and postgraduate whom I felt deserved the opportunity to do something special, or unique certainly, and I knew I could rely on them to help me, to make it a collective enterprise. This proved true. And finally, I wanted the actual aesthetic content of the exhibition to be innovative, to explore the potential of text beyond the book, or the visual to be read as a text. In the end we had 40 works of a really striking standard, the exhibition looks genuinely engaging, original and beautiful.

Museum of Futures themselves, Simon Tyrell and Robin Hutchinson, introduced to me by the brilliant Lucy Furlong, were amazingly supportive, doing great work. Myself and the student co-curators, especially Molly Bergin, Olga Kolesnikova and Matt Navey, had a laugh putting it all together on a windy Wednesday in Surbiton. There is real camaraderie to be found in this kind of project. And the opening night was amazing, gratifying. The room was so full someone feinted. Packed to the gills we listened to a host of new collaborative readings I had commissioned for the night and I got to make new friends as well as seeing some of my favourite people, old friends and talents like Thomas Duggan, Alexander Kell and Camilla Nelson. The readings were great and the sense of community, of purpose and excitement was palpable. A special project all told.

All the reading videos and pictures are, or will be, here www.theenemiesproject.com/futures

Published: 3 poem-bruts on Partisan Hotel

Very happy the brilliant Partisan Hotel magazine have published a set of three of my poem-brut artpoems, all taken from my upcoming Stranger Press book 'I fear my best work behind me' due out in the summer. http://partisanhotel.co.uk/S-J-Fowler

From the magazine bio "These works are taken from his trilogy of books in the poem-brut tradition, exploring ready writing materials, the composition of handwriting and mark making and the role of illustration and legibility in determining poetic meaning. The three books are to be published in 2017 and are entitled I fear my best work behind me (Stranger Press), New prim (Hesterglock Press) and Aletta Ocean Empire (Blart Books). A sequence of Fowler’s poems will appear in Hotel #2."

A note on: The Cast of the Crystal Set - X marks the bokship record

The Cast of the Crystal Set: Readings, Radio, Recordings, Interviews and Performances from: / Jenny Moore & House Music, Sinkhole, Marcia Farquhar with Anne Bean and Judy Clark, / Drawing Room Confessions, Maia Conran, Jessica Worden, SJ Fowler, Denise Hawrysio and Kriswvyd.

The Crystal Set was an evolving structure oscillating between a sound studio for recording and an open stage for live listening events. Between June – August 2015 at X Marks the Bökship & Matt’s Gallery, it hosted a series of recording sessions, workshops and performances. The invitation to a cast of artists and publishers was to use the studio as a resource to translate material from the printed page into sound. This record is a collection of extracts from some of the readings, live radio and interviews all recorded or performed in The Crystal Set.

The Cast of the Crystal Set / 12" Vinyl Record / Published by X Marks the Bökship, 2016 / Edition of 200 / Price £10 http://bokship.org/xaudio.html

A note on : The Poetry Society annual lecture with Jan Wagner

The first time I've attended the Poetry Society annual lecture, given by Jan Wagner at Kings College, after a short national tour. I met Jan for the first time in Berlin, travelling there as a tourist many years ago, having barely written much, just emailing him from nowhere really. He came to meet me, showed me around Berlin, was immensely hospitable and generous to me. Such things are not to be taken lightly, the gesture belying his great humanity, humility and talent. His lecture was really remarkable, rang powerfully true to me. Over an hour in length in covered enormous ground so i don't wish to do it a disservice by merely focusing on a few likely misunderstood or misrepresented points but his deft exploration of influence, how we carry our poetry forebears and heroes with us, where this becomes lost in our work, though still present in our own minds, is very important to me, having written of those who hold such sway over me often (Mayakovsky, Pessoa, Hollo, Raworth, Salamun and co). What I should say rather than recounting the lecture, soon to be published in the Poetry Review and available as an audio file, is that it seemed to me represent Jan as what I aspire to be - a human being working through life with poetry, and not the other way around. Not a poet working through being a human being. Though our work is markedly different, though I share his passion for form (I have no gift for it), I feel an immense kinship with his method, his contextual sensitivity and his sure sense of lineage and deep reading. Moreover he is an immensely decent person, and this is enormously important, fundamental to what I deem a necessary modern turn we should seek in connecting poetics and ethics. I would recommend those interested seek out his book from Arc publishing too, https://www.arcpublications.co.uk/books/jan-wagner-self-portrait-with-a-swarm-of-bees-532 It is no small thing too that the Poetry Society choose a European poet to give this lecture too, the first time since its inception I'm told, an important and marked thing at this time in our island's political climate.

Published: Oxford Brookes Poem of Week : Snow Bunting bay bay

Well nice of Oxford Brookes poetry centre at the University to publish my poem Snow Bunting as their weekly poem. The poem was commissioned for the amazing Birdbook 4 anthology from Sidekick Books, who are equally brilliant publishers. http://www.brookes.ac.uk/poetry-centre/weekly-poem/weekly-poem-for-21-february-2017/ I put a good bio on this one

SJ Fowler is a poet and artist. He has published five collections of poetry and been commissioned by Tate Modern, BBC Radio 3, The British Council, Tate Britain and Wellcome Collection. He is the poetry editor of 3am magazine, Lecturer at Kingston University, teaches at Tate Modern and is the curator of the Enemies project. He is a high functioning vegan bear, befriends birds and will protect their eggs with electric technologies. Currently he is writing an autobiography of the famous Hyde Park Mud Crow. Find out more about his work on his website.

Notes from Sidekick Books: With this poem we continue our selection of poems from Sidekick Books’ four volumes of Birdbooks. In 2009, with two micro-compendiums under their belt, Kirsten Irving and Jon Stone, the editors at Sidekick, discussed the idea of a book of bird poetry – but one in which less well known species were on equal terms with the popular ones. There are dozens of poems about herons, eagles, ravens and nightingales, not so many about the whimbrel, the ruff, the widgeon or the hobby. Paper-cut artist Lois Cordelia was recruited to give the series its distinctive covers, and over 150 artists and illustrators were commissioned over six years to complete the series. The first volume is now in its second printing. Find out more about the Birdbook series on theSidekick website.

A note on: Asemic Exhibition in Minnesota

Asemic Writing: Offline And In The Gallery: an Asemic Writing exhibit at Minnesota Center for Book Arts opens March 10th and runs till May 28th 2017. Curated by Michael Jacobson http://thenewpostliterate.blogspot.co.uk/2017/02/asemic-writing-offline-and-in-gallery.html

Featuring Asemic Writing & Book Art from: Tim Gaze, Rosaire Appel, Luigi Serafini, Carlos M. Luis, Israel F Haros Lopez, Paul A Toth, Alain Satié, Jose Parlá, John M. Bennett, Marco Giovenale, Cecil Touchon, Scott Helmes, Derek Beaulieu, Brion Gysin, Satu Kaikkonen, Cheryl Penn, Raymond Queneau, Logan K. Young, Steve McCaffery, Xu Bing, Geof Huth, Gene Kannenberg Jr., Christopher Skinner, Max Ernst, Timothy Ely, Charles Stein, Gazaliel, Lucinda Sherlock, Volodymyr Bilyk, Catherine M. Bennett, Henri Michaux, Spencer Selby, Jim Leftwich, Louise Tournay, Abdourahamane Diarra, Joe Maneri, Michael Jacobson, Robyn Ellenbogen, Donna Maria De Creeft, Marilyn R Rosenberg, Francesco Aprile, Bill Beamer, Nuno De Matos, Lynn Alexander, Tony Burhouse, Scott Ross, Axel Calatayud,  Henry Denander, Jean-christophe Giacottino, Lin Tarczynski, Tom Cassidy, Ricky Brett, Edward Kulemin, Phil Openshaw, Kerri Pullo, Anneke Baeten, Benji Friedman, Laura Ortiz, John McConnochie, Kimm Kiriako, Sam Roxas Chua, Steven J Fowler, Tatiana Roumelioti, Ekaterina Samigulina & Yuli Ilyshchanska, Nico Vassilakis, the unknown author of  The Voynich Manuscript, all the authors & artists in Asemic Magazine, everyone in John Moore William's asemic issue of The Bleed, & including everyone in Paul A. Toth'sALPHA BET A TEST: The Eye Am Eye Asemic Anthology: Language In The Act of Disappearing.

A note on: The University Camarade II

The University Camarade II : February Saturday 25th 2017 - 7.30pm - Free Entrance
Venue 2 : Rich Mix Arts Centre (35-47 Bethnal Green Rd, London E1 6LA)
www.theenemiesproject.com/unicamarade

The second University Camarade presents pairs of creative writing students from seven different Universities in the UK to collaborate on short new works of poetry or text, for performance. The only participants are students, and writing with poets they've never met before, who study within a different institution, this initiative allows them to expand their practise, knowledge and networks, and takes a stand against purported factionalism or department competition. The innovative collaborative methodology also allows them to include experimentation early in their writing careers, and perform to a large audience.

Students have been drawn from the Creative Writing departments of Kingston University, Oxford Brookes, York St John, Kent, Essex, York and Royal Holloway and the project has been curated by SJ Fowler with Kim Campanello, JT Welsch, Dorothy Lehane, Robert Hampson, Prudence Chamberlain, Philip Terry and Niall Munro.

tom raworth 1938 – 2017

http://www.3ammagazine.com/3am/tomraworth/ 

With Tom Raworth’s death, the world of poetry, and of human intelligence in general, has become lesser. I am not alone in thinking him the finest British poet of his lifetime. For over five decades Tom’s work was a blazing light across the often murky path of British poetry. He was a friend to so many, gregarious and kind, in his person as well as his work on the page. He was a mentor to even more, including myself and many of a new generation of contemporary poets, who will see his legacy as a link between a positively historical period of invention and the maelstrom of our present time. Along with his work, he will also pass on a profound inheritance to those who knew him – while being deeply intellectual as a man, as subtle and complex as his poetry, he was utterly unpretentious, humble, admirably without patience for fools and hypocrites, and viewed common human decency as more important than anything else, including poetry.

Tom led an incredible life, publishing over 40 books, with his first The Relation Ship emerging in 1966. He spearheaded the British Poetry Revival with his unforgettable readings as well as his work with Goliard Press, which published Charles Olson’s first collection in the UK, amongst other now greats. He made a collectively vital impression on the new poetry of both Britain and America in the 60s. But this doesn’t really capture it. The prohibition and complacency readily celebrated in so many literary circles on these islands, along with his natural energy and openness to the world sent him into global recognition. He spent many years in the US and lived for a time in Mexico and Spain. He attended festivals to present his work everywhere from China to Macedonia. At a time when few looked beyond the UK, Tom was showing poets that something powerful and unique had emerged from the post-war scene. In fact it is in America that he found his due, not only in his deep friendships with poets like Ed Dorn and Anselm Hollo, but in a readership. I was once at a festival in central America and was asked by the audience which British poet was most important to me. When I replied with Tom’s name, the American poet Forrest Gander, with a smile on his face, shouted out ‘he’s ours.’ By rights, this is not entirely untrue. The feel of Tom’s Irish parentage, his class and his cosmopolitan outlook ebbing into his always inventive poetry left him at times profoundly underappreciated in the UK while celebrated in America. Certainly in the time I knew him, though he would have immediately spurned any haughty honour, it was unbelievable to me that he was not celebrated more in his home nation.

I am quite sure I am one of hundreds of young poets Tom befriended. I first contacted him very early in my writing, with immense naivety, just cold emailing him, to tell him how much his work meant to me. He had no reason to respond, and yet he did, not only with supportive words about my work, which he had clearly sought out and read in response to my clumsy missive, but then with an invitation to spend time with him and his wife Val in Brighton. That began a friendship which profoundly shaped, or certainly confirmed, my approach to being a poet. The last thing Tom really wanted to speak about was poetry, or so it felt. What we talked about was almost everything but. Over dinner, always laughing, amazingly hospitable, talking about crime novels or Game of Thrones, incidentally I was able to hear Tom and Val tell stories of their life, their friends, with poetry the route to these experiences, but not the subject of them. Poetry was a way into friendships, experiences, communities, and this in itself reflected back into the work. Tom’s poems are always alive to reality, in all their pace and fragmentation and mishearing and insight and beauty. I’d leave with long lists of poets to look up, not because Tom had recommended them, but because their names had been casually mentioned next to brief meetings with Octavio Paz in Mexico or William Burroughs in New York. What I really learned then was that there is sometimes a palpable connection between a kind of writing and a way of living, an ethics in poetics. It was a path being shown to me, knowing nothing, understanding so little, and Tom and Val seeing that, were helping me on. What I know now that Tom is gone, that he had passed on to me and so many others a responsibility to be kind, generous, to be communal and supportive, while always being critical and alive to bullshit, and to protect our work from pernicious collective normativity while building friendships around that task.

Hearing of his death, it feels to me now that we have been left to fend for ourselves, just for a moment, precisely when we need poets and people like Tom and all their wisdom. I wouldn’t want to presume, but I would imagine Tom would not have liked what I’ve written about him, finding it mawkish in its compliments. But his poetry, like his person, was not an assurance, or a correction. It was its own thing, shared for the purpose of being read and nothing more, correcting by example, inspiring new ideas and poems. Through its sheer intricacy, its intelligence, delicacy and humour, for my generation, his work has set a standard. So in both his manner and his poems Tom Raworth has left a palpable legacy, even a responsibility. When I asked him once for a blurb for one of my books that no one has really read or will ever read, he responded it was “doing the work that needs to be done.” What greater compliment can be given, in all its restraint? Following his example I should hope to live a long life, full of friends, full of writing, full of people as down to earth, charismatic, intellectually vigilant and warm hearted as Tom Raworth. He was a great poet, following his own path, and will be sorely missed.

A note on: North x North West Poetry Tour part 2 - Leeds, Sheffield, Liverpool

All info and funbatch on this tour is here www.stevenjfowler.com/nxnw and allll videos www.theenemiesproject.com/northwest

Leeds was fire. I’d heard it was a quiet town for the avant garde or literary poetry but this proved untrue, or we got unlucky. In the wharf chambers we had over twenty poets and from many different scenes and backgrounds. From first time readers to folk like Ian McMillan and Robert Sheppard, it ran the gamut. I got there early, in the snow, to be met by Ian in fact, whom, ever the gentleman, helped me shift 100 chairs into the basement punk venue. So many poets I was excited to see and meet for this one, and there was a uniformly playful tone, with a noticeable investment by many. For my own work with Patricia Farrell we wrote a collaborative poem and then I played with some ideas around memory and recitation, recording her poems onto my phone, popping in earphones and reciting from that audio file at parts, and at others, just trying to copy what she had said. Nearly 100 crushed in all told and some of these collaborations will be long remembered, everyone was buzzing

Sheffield was interesting. Again there was talk of a quiet gig but our room at Bank Street Arts was chocked, even dangerously so with much of the gig standing room only with people blocking my camera or stepping on each other’s feet, literally. Some great works here, punctuating a range of stuff, from the high literary to the amusing. At times it leaned into the self-referential, the audience having its favourites / friends, which is really the opposite of the deliberately open Enemies mode, but this is inevitable with such an intense room and a single city scene.

To be honest for me, the whole time in Sheffield was clouded by hearing of the death of Tom Raworth, who was a great influence on me and a friend. I wrote a piece remembering him, feeling emptied and deeply sad, in a Travelodge in the city, having travelled from Leeds and so it was a melancholy day. It took me many attempts to write the piece, I was feeling quite out of sorts. We ended the event with Chris McCabe and I reading some of Tom’s poems and this I will never forget, to have the big audience to read Tom’s work to, a day or two after his passing.

Liverpool is a city I love and this sprawling reading in the beautiful Everyman playhouse, who could not have been more generous as a venue, brought together many friends and great poets from across the region, being the final gig. I had the grand pleasure of working with Nathan Walker, whom I respect immensely and our improvised sound poetry vocal piece was a joy, though it was maybe too intense for the audience. Some fine works here but it was a rare misfire over all in terms of the Camarade tradition. Not quite sure why, but there was an imbalance in the works overall, perhaps a lack of identity in the event, a lack of successful experiment, or engagement with liveness. Happens sometimes.

Certainly I left the event happy because it was the summation of the project, and the final moments of that were spent with my friends, Tom Jenks especially, a brilliant poet and a great person to work with. As ever it’s a privilege to do this work, to such large audiences and such enthusiastic and varied writers.

A note on: Launching Capitals anthology at SOAS, London

A pleasure to read at SOAS in Bloomsbury for the first time to celebrate the launch of Capitals, edited by Abhay K, a poet and diplomat from Delhi who came all the way from India to share the book. I had the pleasure of reading alongside friends like George Szirtes and meeting folk Ive corresponded with but never met before. A lovely evening and the book is remarkable, a poet for each capital city in the world! I wrote on Freetown, having visited Sierra Leone in the past. http://www.bloomsbury.com/in/capitals-9789386141118/

capitals cover.jpg

A note on: Fiender, performing with Aase Berg

I enjoy collaborating with Aase Berg. We put on something conceptual, something about surprise, coldness, fakery, a satire I suppose, about the opinions of others. And about liveness against the page. A new work for the new audience. We had fun doing so.

This event was a return to the Camarade Harry Man and I put together at the Stockholm International Poetry fest last November, but this time, in enemies project style, pulling in 20 poets in all, 3 from swedeland, and a 100 people to witness the 10 new works. It was a fun evening, full of energy. All the videos www.theenemiesproject.com/fiender

A note on: Visual Art South West - New collection launch in Bristol

http://www.vasw.org.uk/events/the-guide-to-being-bear-aware-a-poetry-collection-by-sj-fowler.php

Arnolfini, 16 Narrow Quay, BS1 4QA / 0117 917 2300 boxoffice@arnolfini.org.uk
http://www.arnolfini.org.uk/whatson/the-guide-to-being-bear-aware-a-poetry-collection-by-sj-fowler

Thursday 06 April 2017 19:00 - 20:00 Opening Hours: 11:00 - 18:00 Booking recommended
The launch of SJ Fowler’s latest poetry collection The Guide to Being Bear Aware from Bristol-based Shearsman Books, featuring performances and readings from Fowler and guest readers John Hall, Holly Corfield Carr, Paul Hawkins, Phil Owen & more to be announced.

"The Guide to Being Bear Aware offers advice for living in a world gone awry. Wry, violent, contemplative, political, intimate and raucous by turns, these are poems that laze on your lap only to get their claws in... Morphing into unfamiliar shapes beneath the watching eye, these refreshing, quizzical, well-traveled poems forge a world entirely their own: they won’t let you go of you easily.” Sarah Howe http://www.stevenjfowler.com/bearaware

 

A note on: Museum of Futures Visual Poetry exhibition

Very happy to be curating this exhibition in Surbiton next month. It brings together colleagues at Kingston University from multiple departments, students, alumnus and local professional poets and artists. 

Opening night, with a camarade reading, is February Thursday 23rd. All info here www.theenemiesproject.com/futures

I'm also still taking submission for the exhibition until February 5th www.theenemiesproject.com/opencallfutures

A note on: RICH MIX: Access All Areas

A nice little chat with the Rich Mix folk, chatting about some of the new plans I've got with the amazing arts institution coming this 2017! https://www.richmix.org.uk/blog/rich-mix-access-all-areas-sj-fowler

SJ Fowler is a poet and artist whose accomplishments could outweigh those of most artists double his age. His work has been translated into 21 languages; he has been commissioned to create work for BBC3 Radio, Somerset House and The British Council, and has taught at Kingston University, Tate Modern and The Poetry School, but name but a few. With so many events lined up for 2017 at Rich Mix, we felt it was only right we caught up with him to find out more about the man himself and his work.

In your own words…who are you, and how would you describe you work?

I’m a writer and artist. I’m interested in what I take to be the truly contemporary, that is often called experimental, and I’m an associate artist of Rich Mix, having performed and curated events here since 2010. It has been my home in many ways, I’ve had so many beautiful nights in Venue 2!

What’s your favourite part of working at Rich Mix?

Maybe the staff. Sounds trite but I’ve performed or put on well over 300 events, worked with a lot of venues and very few can match the level of personal investment, hospitality and unpretentious industry of people working at Rich Mix. I’m always treated with such gentle respect, nothing is too much.

What was your favourite song of 2016?

I didn’t expect that question. I think it came out at the end of 2015, but maybe John Grant – Black Blizzard. I don’t have one really.

What was your favourite film of 2016?

Again I don’t tend to have favourites but maybe, off the top of my head, I liked Embrace of the Serpent. Jungle Book was pretty great too, Fred the Pig and The Pangolin live long in my memory.

 What was your highlight of 2016?

The most satisfying personally was the first English PEN Modern Literature Festival which I curated at Rich Mix on April 2nd 2016. I asked 30 writers to each write about a fellow writer, but one supported by English PEN, currently at risk in their own nations. English PEN are the writers’ charity and for such a long time I had wracked my brain as to how my skills could be of any use to their genuinely extraordinary work. This, in a tiny way, was such a magnificent day, so full of energy, reflection and heartfelt solidarity, that I felt sure, for perhaps one day, I wasn’t completely wasting my time. It was so good it’ll happen again on April 1st 2017, at Rich Mix.

What are you looking forward to in 2017?

Aside from the above, I’m happy to be presenting a new short play for Rich Mix’s centenary of the Russian Revolution program. It’ll be alongside 3 other playwrights, four mini-plays in one night, over three evenings in June. It’s about the poet Vladimir Mayakovsky, a hero of mine. It’ll be very weird.

A note on: Fiender - Swedish Enemies in London - January 28th

Fiender: Swedish Enemies in London - Rich Mix : Saturday January 28th 2017
Free entry 7.30pm - 35-47 Bethnal Green Rd, London E1 6LA

www.theenemiesproject.com/fiender

Brand new collaborations of poetry and text for one night only, written by pairs of poets commissioned for this unique literary event. Visiting Swedish poets will present new works of avant-garde and literary poetry with their British counterparts alongside other 'Camarade' pairs especially for the evening. 

Featuring: Aase Berg & SJ Fowler - Harry Man & Jonas Gren - Elis Burrau & Holly Corfield Carr - Kathryn Maris & Patrick Mackie - Fabian Peake & Jeff Hilson - Nick Murray & Joe Turrent - Prudence Chamberlain & Eley Williams - Hannah Lowe & Richard Scott - Annie Katchinska & Mark Waldron & more

Fiender: Swedish Enemies is multifaceted transnational collaborative poetry project engaging poets from both Sweden and the UK. Taking place in both nations across 2016 and 2017, Fiender is an ambitious, exploratory engagement with contemporary poets across Europe.

Curated by Harry Man and SJ Fowler, with curatorial assistance from Emanuel Holm and Madeleine Grive. Supported by Arts Council Sweden. www.theenemiesproject.com