European Poetry Festival Digital begins - Three Swiss Poets

EPF Digital begins! After two cancellations, I’m happy that I bit the bullet and decided to lean into some proper online content. Masses to come, 9 interviews, 3 films, and more. This opening is just the beginning of stuff coming out over the next two weeks…

An eight part online festival, presenting long-form video interviews and entirely original poetry films. Unable, finally, to take place in the flesh this year, the festival will present poets from Switzerland, Austria, Latvia, Sweden, Hungary, Lithuania and more, leaning in to what can be created without proximity, generating new insights into poetic practice in continental Europe and creating ambitious film-poetry collaborations especially for this two week e-fest.  / The full program is available to view www.europeanpoetryfestival.com/2020 and the 'events' will be released via this newsletter and online every few days November 23rd to December 10th. To begin, we are very happy to present three new long-form video-interviews with Swiss poets to kick off EPF Digital 2020. More on the work of Laura Accerboni, Rolf Hermann and Linn Molineaux is available at www.europeanpoetryfestival.com/swiss with videos below and on YouTube. These interviews are supported by Pro Helvetia and are part of the Maintenant series at 3am magazine.

A note on : a conversation with Tom Jenks, recorded

A kind of video podcast to celebrate the launch of my THE SELECTED SCRIBBLING AND SCRAWLING OF SJ FOWLER (available here, please buy it and support Zimzalla as a great UK press). We did it in place of a launch, perhaps, but it became something else - an unplanned 90 minute chat. I admire Tom, he’s an influence on me, a long time collaborator, and the publisher of this book. This chat made me realise I had known Tom for 10 years, and a lot of people have written to me when they’ve listened to it with warm words. Maybe because Tom and I are friends, and we used the conversation to explore ideas without being too serious or technical, and we covered our whole journey with poetry, in a way. I enjoyed doing it anyway.

Published : A small folio of Engerland poets on Periodicity

Rob Mclennan asked me to put together a small bevy of 8 poets working in and of engerland and I did and he published their work, glimpses of it. The 8 poets are listed below, with links, so you can click on their names and see the work, and here is my intro too, and the link to while feature https://periodicityjournal.blogspot.com/2020/11/sj-fowler-small-folio-of-poets-engerland.html

• Ben Jenner :

• Victoria Kaye :

• Sylee Gore :

• Rushika Wick :

• Susie Campbell :

• David Hayward :

• Stephen Emmerson :

• Tom Jenks :

Published : The Selected Scribbling and Scrawling of SJ Fowler

Years in the making, The Selected Scribbling and Scrawling of SJ Fowler (me) is now available from Zimzalla. zimzalla.co.uk/051-sj-fowler-scribbling-and-scrawling-2nd-edition/

From the publisher - The Selected Scribbling and Scrawling of SJ Fowler is an assembly of hand-drawn, instinctive visual poems from beyond the ragged edge of language. Arguably the most comprehensive book of asemic poetry ever published in the UK, this sizeable revamped new edition includes images of live asemic performances alongside over 100 visual poems divided, and introduced, in chapters. Asemic neurons butt up against poetic constellations, portraits and diagrams. The volume is bookended with new articles on the asemic endeavours of SJ Fowler from David MacLagan, Tim Gaze, Michael Jacobsen and David Spittle, plus a written interview between Fowler and Zimzalla editor Tom Jenks. Click here for a sample.

Click here to buy for £11.99 in the UK.

I'm happy to announce the release of my latest visual poetry book, collecting the vast majority of my asemic writing in one beautifully produced volume. I had the best time working on this, developing the first edition, working with Tom Jenks. It means the world to me too that the volume is full of brilliant reflections on my scribbles by such luminaries in the asemic world - David Maclagan, Tim Gaze, Michael Jacobsen, they all influenced me a lot, and the long critical piece by David Spittle is brilliant. I spent all summer tinkering, theorising around these abstract writings, really working hard on my intros to each section, and this book is the result, a true consolidation of my travails into asemia

Published: Magma Poetry, feature in the collaboration issue

I had a really grand time working with editor Alice Willitts on a feature for the latest, collaboration themed, edition of Magma magazine. We spoke quite a few times over many months, sharing ideas, and Alice really put her heart into this issue and I’ve a lot of admiration for her approach.

In the end, the issue features a large interview we did, discussing many things, including my selected collaborations NEMESES and my film THE ANIMAL DRUMS, all available to read online https://magmapoetry.com/archive/magma-78/articles/interview-with-sj-fowler/

The print issue also has a selection of my visual collaborative works, so worth getting a physical copy. The magazine has some brilliant poets in there, really an extraordinary list, including works I had the pleasure to commission, like Christodoulos Makris and Pierre Alferi, alongside many of those I admire https://magmapoetry.com/archive/magma-78/

Published : Excerpts from I Will Show You The Life... on Mercurius

Very cool to have four poems from my book I WILL SHOW THE LIFE OF THE MIND (ON PRESCRIPTION DRUGS) published on Mercurius, a journal brilliantly edited by Thomas Helm here free and out like nowt. Please have a peek www.mercurius.one/home/i-will-show-you-the-life-of-the-mind-on-prescription-drugs

These are four special texts, or rather excerpts (as the book is a poetic conceptual choose-your-own-adventure narrative with all text intermingled somewhat), as they include the book’s opening gambit, describing the human brain.

A note on : Tangible Territory journal with Švankmajer, Josipovici et al

My friend and collaborator Tereza Stehlikova has started a new journal online, entitled Tangible Territory “a platform that offers a space for various voices to meet and discuss themes relating to the role of the body, the importance of place and embodied experience, in giving meaning to our every day experience of life and art.” For the first issue, which rather extraordinarily includes Jan Švankmajer and Gabriel Josipovici amongst others, a genuine conglomeration of unique artists, I wrote a small piece on London and walking https://tangibleterritory.art/journal/issue1/s-j-fowler-experiences-of-necessity/

“My exploration of London is a sacrosanct subject I do not normally write about. This is because it is for the future, or because it is not a material to make things out of, but a thing I just do. I’m likely better to write about it when I have left London, if I do that upright.

What I do know is that I’d rather walk than write, which is why I have yet to complete longer works of fiction or non-fiction. I am literally out walking instead. I know how to walk from anywhere north of the river to anywhere else north of the river within the bounds of say, zone four, without the aid of a map. Mapless I wander, impressing friends and loved ones with my ability to end up where I had intended to.

But I also do not write about my London because I have often noticed, and recoiled, at those professional artists who turn everything they like into work, without fear of the thing being despoiled, or it being uninteresting to others. I shan’t write about it here. Simply to say, I walked a great deal during the lockdown of 2020. I keep a pedometer because I find in it a curious companion and across London I would average forty miles a week.”….

A note on : on collaboration for Poetry Society's Young Poets Network

I was asked by the Poetry Society to write a little burst for their young poets network and a collaboration and poetry challenge, worth a peek at https://ypn.poetrysociety.org.uk/features/how-to-get-started-with-collaboration-in-poetry/

Steven J Fowler on The Enemies Project, his latest project and collaboration

Steven J Fowler is the originator of The Enemies Project, a long-running programme that started in 2010 and has resulted in hundreds of collaborations and events. He shares some wisdom:

I’m lucky to work collaboratively often. I organise events where I pair poets and ask them to make new work, over 300 of these events have happened around the world, and I’ve published two volumes of selected collaborations too, having written with over 100 artists and poets. I collaborate a lot because it’s generous, it builds friendships, and it forces one to be inquisitive. To be a good collaborator, you simply need to be interested in how the other person creates, as much as what they create. You need to so interested in this, you’re willing to allow their idea prominence, to let it supplement yours. I’m currently working on a book-length poem with Russian poet Maria Malinovskaya. We’ve spent a year exchanging lines, fragments, paragraphs – the project constantly changes, and this has been the joy of it. It’s an act of friendship, where the normal creative and editing processes I’d have in my head for my solo work are mediated through the originality and brilliance of another, of Maria, who thinks in ways I’ve never encountered. The book is now a series of questions and answers, it’s taken a year to find that form. I ask a question in the form of a poem, Maria answers in poetry and poses me a question. On it goes, and we don’t know, or care, when it finishes, or how it will finish. This, to me, is pure collaboration, the joy of the process over the product.

A note on: Babel Between Us ends

Babel Between Us has been one of the most ambitious collaborative writing projects ever made, without a doubt. It’s an immense project, massive. I’ve been writing stories and texts with over a dozen writers around the world, kind of anonymously, for a great part of 2020. Now it is over. It’s strange to me I’ve not written more about it on my site or blog, but because the because includes so much anthropological analysis and itself feels like a kind of commentary, somehow, creatively that felt redundant to me. / If you want to have a look at the project in general, do have a butchers at https://bbu.world/ and all my posts, starting fiction and interrupting it, is https://bbu.world/u/werebear/activity with some screenshots below.

A note on : Beijing October Literary Festival online

I had such a lovely time being part of The Beijing October Literary Festival online recently. I had the pleasure to visit and read in Beijing in 2016 and made friends there who remain correspondees to this day and so this was, for me, a reconnection. The online festival has two themes - the city and tradition with modernity. I gave a talk on London, on its relationship to my writing, reflecting on how physical space, proximity, alters the reality of the writer, and how the modern city demands a modern literature, that looks forward, future facing, rather than looks to history for writing. History is for history. It seems to go down well, which was gratifying, but for me, the other speakers were exceptional and this was arguably the best online event I’ve done. It was especially cool to watch the Chinese poets and writers talk about Beijing and the modern Chinese megacity. It was a frank and playful conversation at times.

A note on: Seen as Read - arguably my favourite course

I always try to try all iterations of professional creative work once. Running adult courses face to face, with lots of different institutions, has been one of the most up and down endeavours for me. Some have created extraordinary new pathways for me, and loads of new friendships, genuinely. Others have been draining, pressured experiences, where participants use the format to unload after a hard day at work. I’m always up for doing them at new places, but when I had done online courses in the past, I found them rewarding but difficult - the removed nature tends to obfuscate the main reason I teach - to meet people, to communicate. Recently, with the lockdown bla blah I decided to go again, more seriously than before and set up a course called Seen as Read. I wrote entirely new material for it, blended that with previous explorations. I put my heart into it really, as it felt a new venture, a new moment. It has just ended and is perhaps the most exciting, rewarding, generous experience I have had teaching, including face to face work. The level of those involved, the insight, generosity, innovation - it really felt like a brief community. So many people signed up, which was inevitably very validating, and then so much support was offered for my approach, detailing a prehistoric to present history of visual poetries, then going into asemic writing, art poetry, poster art, text art, concrete poetry, collage and the like, this also was uplifting. The screenshot above shows the tiles of the blogforum set up as our interface. Each tile represents a post by a participant poet, each filled with their work and thoughts, responding to the themes of the week. Extraordinary. You can look at the work too, it’s now made publicly available with the permission of the poets https://seenasread.blogspot.com/ & https://visualpoetrycourse.blogspot.com/

A note on : European Poetry Festival goes digital

I moved my festival, which was the be the biggest yet www.europeanpoetryfestival.com from April to October to November and now entirely online. Spilt milk, inevitable, fine. What I am excited by is that my suggestion for how it goes online have been met with great generosity by the various poets, friends, institutions and supporters who make it what it is. By the end of November I shall have multiple poetry films, zoomcasts and publications to share from poets across Europe and I look forward to barraging people’s inboxes with the stuff, currently being shot, edited and prepared. This all before I slowly, optimistically begin to begin planning a face to face festival in April 2021, which I will do, if it can be done.

A note on : Limbo, co-writing a film by Lotje Sodderland

A few years ago I worked with the filmmaker Lotje Sodderland on a project about the human brain, amongst other things, and more recently she asked me to co-write a film she was developing. I drafted her idea, added to the script, offered a version of it, altered some narratives and then writing took on new forms, with Lotje’s work and improvised shooting as a mode. A really collaborative process, common to cinema of course.

As is the way with films, it took time to grow, get production underway, edit and alter, finding it’s final shape. This shape is nearly fixed and the result is something really poignant and elegant. The film is called LIMBO and here is what Ken Loach said about it:

‘This is a film of compassion and tender observation of lives we rarely see – it’s in the performance of the routine tasks made by one person for another that we start to grapple with meaning, dignity and what it is to be human.’

Pretty extraordinary, and for me too, as part of the writing team, it’s a great credit. The film should begin to see public eyes in 2021 and more can be found out about it here https://lief.london/portfolio/limbo The portrayal of real elderly men, isolated in London, found actors, is something so powerfully captured and really is painfully relevant given the announcement of a second lockdown here in the UK/

A note on : Poem Brut phase 3 and Hawkins at Second Step

Poem Brut is entering a third phase. I began the project hoping my approach would create a nice series of events. I wanted to promote poetry methods that engaged in their context, innovatively, in a contemporary way, with the handmade, the visceral, the visual and the live while also asking what effect our brains have on our writing. I wanted to include knowledge from those with alternative cognitive experiences. But I didnt want to make them definitional. I didn’t want to advertise it, or make the project about ‘outsider’ poetry, or people’s bio. This is all seems to have worked. I’ve had emails over the lockdown asking me about the ‘movement’ of Poem Brut. It’s a bowel word but that’s nice that people see the project as a thing.

Our first phase was events and publications. Our second was about continuing that energy, including exhibitions and then commissioning and mentoring individuals who are often left out of that kind of stuff because they are so original. In both cases the open submissions of our 3am series kept the people involved ever changing, growing, open minded and open doored.

This third phase, planned for 2021, will continue all these activities, but go further in helping poets branch out with their own projects. A brilliant example of this is the incredible teaching work of Paul Hawkins at the Second Step mental health charity in Bristol. Paul has done an amazing job sharing Poem Brut work and ideas to people using Second Step’s service. You can read about that here https://www.poembrut.com/secondstep and the tweet above says it all. / More coming soon on Poem Brut in the new year, when hopefully we are all able to meet again in person.

A note on: Austria day

I normally don’t ever mention events in the world in my work or on my site, even tragic ones, but given what has happened in Vienna just yesterday, as I write this, this is all the more important for me to say. Austria has given me a lot https://twitter.com/austriainuk/status/1320726880430002176

I really like it when my job puts me in places I wouldn’t have expected my work to take me. I was asked by the Austrian Embassy to make a little video for Austria National Day. I spoke about how much I admire the writers of Austria, how much they have influenced me - which they have, truly, with Handke, Jelinek, Bernhard, Fried especially really impacting my work, my way of thinking about literature - and how many contemporary Austrian poets have become my friends. Some of my finest correspondence friends and collaborators are in Austria, Max Hofler, Robert Prosser, Fabian Faltin, Esther Strauss and many others.

And my relationship with the Austrian Cultural Forum in London too, it’s been so so important to me. Their trust in my work as a curator, the creative freedom, the professionalism and support they have offered me, vouching for me, helping me build ideas, events, collaborations and more. I owe them a lot. www.stevenjfowler.com/acf Vienna has been a special place to me, and few places encapsulate what is best about Europe and European culture more than the city. My heart goes out to it.

The Writing Eye - Online course on Photo Poetry and Film Poetry

An online course. Begins November 8th 2020, running for 7 weeks. www.poembrut.com/courses

The potential of image and text is an endless field of creative exploration. Yet, despite the ubiquitous access we have to cameras, it remains underexplored and underappreciated as its own medium. This course traces the history of photopoetry and filmpoetry and draws it into the 21st century, rooted in making over theory, method over all else - it aims to provoke questions while exploring examples from a variety of fields - from conceptual art to surrealism, collage to concrete poetry, from modernism to collaborative practice.

We ask what makes up the essence of photography, film and poetry, and how might they interact to move beyond traditions in both fields, as something new, a true photopoetry or filmpoetry? We ask what is hybridity, truly, and simultaneity, and photoliteracy, and illustration? What is a poem in time, on film? How has the technology needed for the cinema and video evolved what a poem might be? What is the line between documentation and artwork?

Poet-photographer-filmmakers featured on the course will range from the historical to the contemporary, from canonical modern figures to "outsider" artists, from Laszlo Moholy-Nagy to Barbara Kruger, Francesca Woodman to August Strindberg, Peter Greenaway to Hamish Fulton, Blaise Cendrars to Martha Rosler, Susan Hiller to Yamamoto Kansuke, Paul Muldoon / Norman McBeath to Paul Eluard / Man Ray.

Published : Zones of Darkness, on science writing and my book 'I will show you...'

I was sent this article by a friend, having not heard of its being written. It places my most recent book in its proper place - science writing on the brain, the hard problem of consciousness, experimentation as a purposeful means to get to insolvable problems of language - which is something that hasn’t happened too much, so it was gratifying to read. It mentions Francis Crick and Henri Michaux in the same article too, alongside analyses of Michael Pollen and Charles Murray, and then me. It’s an ambitious piece. More than this it contextualises the real issue of my book - the brain, the mind, what is happening to ours, our search in popular culture to engage / ignore this issue. Anyway, from Eric Jett, Zones of Darkness https://www.full-stop.net/2020/09/16/features/essays/jett/zones-of-darkness/

Published : Forest Prospect in Poetry Dispatch

A beautiful project by Kyoko Yoshida, a mailart poetry journal, an object of wonder because it can be pocketed, it is materially there in these pandemic times, and because it creates a unique dialogue between the poets involved, who range across Kyoko’s world, from Japan to Europe to the US and beyond. This issue I’m in features some lovely work and my friend john Mateer, which was a surprise. I wrote a new poem for it too. Vist http://kyokoyoshida.net/archives/219

A note on : Robert Sheppard's writing on Poetry and Collaboration

Robert on the right

I hope this becomes a book. Robert Sheppard’s writing over the summer of 2020 on collaboration and poetry, in the UK, is timely, necessary and long overdue. I am biased as I’m featured and I obviously care about collaboration. But it is strange that so little has been written on the subject. Considering Robert’s standing as a poet and critic, and educator, it’s all the better he has done this work, eloquently, and with wit, and insight.

Robert has been a key influence upon the writing of multiple generations of poets in the UK. For my own part, he specifically influenced my sense of what place, space, biography could be within a complex poetry, he made me reconsider what poetics was and he allowed some light to be shone in the dark spaces where poets don’t make much and are proud of that - he has been prolific, for decades, and worked across the proper ways and means of poetry. I am one of very many who would say this kind of thing.

Finishing off his 14 part series on collaboration, he has concluded and provided a useful contents rundown. Posts include writings on my poetics of collaboration, the most comprehensive review of Nemeses, the second volume of my collaborations. In depth looks at my work on the page with Prue Chamberlain Bussey, and my work with Camilla Nelson, live and in print, with an appreciated nod to wrestling. I repatriate Robert’s concluding post here and enthuse that you should click through and read it all

Conclusion is here “This probably concludes my ‘Thoughts on Collaboration’. I think it is best that my remaining work on the theme is composed offline, for eventual publication as a critical article…. Only one final text to acknowledge, the extraordinary 500 page Poetic Interviews, edited and conducted by Aaron Kent, from Broken Sleep Books, 2019, in which Kent uses poems much as an interviewer uses questions - and various writers (I note SJ Fowler amongst them) reply with poems…. On a personal note, I am pleased to report that there are plans for Veer to republish both my collaborations with Bob Cobbing (which I talk about  here ). That’s a good way to end this rambling strand….

• The introductory part one, flags up the themes and surveys the territory

• In part two, I talk about ways I've collaborated across media

• Part three, I talk more about literary collaboration, but I also try to account for my own transformative practices (in 'The English Strain' project) that are not collaborations, not translations, but are transpositions.

• Part four, on some of my literary collaborations, is here.

• Part five is about SJ Fowler's 'Enemies' collaborative project, in general, and my part in them (with videos). It may be accessed https://robertsheppard.blogspot.com/2020/02/thoughts-on-collaboration-5-literary.html

• Part six is on the literary collaborations in Twitters for a Lark; poetry of the European Union of Imaginary Authors (the EUOIA) here.

• Part seven considers some of the ways female coauthors have operated and whether the term 'coauthors' isn't a better term… Here.

• Part eight consists of two parts: my considerations of the past collaborations of Kelvin Corcoran and Alan Halsey here.

• Part nine contains some thoughts on SJ Fowler’s Nemeses: Selected Collaborations of SJ Fowler, 2014-2019. HTVN Press, 2019 : here: https://robertsheppard.blogspot.com/2020/04/robert-sheppard-thoughts-on.html

• Part 10 is an account of Fowler’s poetics of collaboration. Here: robertsheppard.blogspot.com/2020/04/robert-sheppard-thoughts-on_3.html

• Part 11 is an account of Fowler's collaboration with Camilla Nelson (on the page)
  https://robertsheppard.blogspot.com/2020/04/thoughts-on-collaboration-11-steven.html

• Part 12 continues to analyse Fowler's collaboration with Nelson, but it takes account of the extraordinary dynamics of its 'Enemies' performance (which was filmed), https://robertsheppard.blogspot.com/2020/04/thoughts-on-collaboration-12-steven.html

A note on : Ed Hadfield's exhibition opening chat

I met Ed Hadfield years ago and we’ve stayed in contact, with Ed being one of the most interesting poets working with public art that I know. His work’s background is in an area very different from my own, and its through my awareness of Ed’s work that I’ve slowly built up proper knowledge of those I’d see as poets who are known as text artists like ruscha, weiner, holzer, baldessari et al.

Ed has a year long exhibition / installation at Cable Depot, run generously by Iavor Lubomirov https://cable-depot.com/About, and asked me to pop down to talk with him about it, for a chat on instagram live, because he couldn’t do a normal opening due to the pandemic.

I had a really magic time going down to woolwich dockyards on a friday night, with gale force winds battering in as i walked down the thames path and emerging into an industrial estate to discover this incredible intimate gallery, surrounded by mechanics and warehouses. The video here shows Ed and I’s chat, which is a bit wind affected, but captures a moment - its almost a performance in itself, trying to talk in the gusts as the light fades - and its worth listening to to glean Ed’s sincere and intelligent insight into his piece, which is admirably elegant. Ed’s website is here too https://edhadfield.co.uk/wall-mural/