Lush to have been shortlisted for the Aesthetica Creative Writing Award this year. My poem ‘The Tuna Auction’ was originally published in Anthropocene magazine earlier this month. Fingers crossed for all the shortlistees!
Chuffed to have come 4th in the Streetcake Prize for Experimental Writing. I felt a bit of an interloper at the prize-giving. I’m not sure my poem really is that experimental compared to all the wonderfully inventive pieces by other poets and prose-writers. Nonetheless it was lovely to be selected as a runner-up and huge shout out to Trinni and Nikki who run the prize! What a brilliant thing they’re doing 🙂
Over the moon to have been shortlisted for The Streetcake Prize for Experimental Writing. I love what I write. I love using poetry as a tool of inquiry: testing the limits of form, experience and knowledge. But there aren’t many places that can give it a home.
Streecake Magazine is one such place. And it’s wonderful to have a poem be shortlisted for the top prize. Good luck to all the shortlisted authors.
On August 5/6th, I’ll be running a 2-day symposium with my colleagues Dr Katherine Collins (Oxford) and Dr Helen Mort (MMU). This two-day symposium seeks to bring together poets, researchers, researcher-poets and poet-researchers interested in exploring the intersections of poetry and research and to explore the questions we, as members of this growing field of inquiry, should be asking of our practices, our ethics, our outputs, and ourselves.
Our questions include:
How do we define the core terms: what is research, what is poetry, what is collaboration, art, creativity, method?
How do we articulate aesthetic, epistemic, and ethical criteria for this kind of work? Should standards exist and what should they be?
What is the impact of Impact and other research quality frameworks such as REF on the kind of work that is made and valued?
What makes an effective, productive, collaboration between individuals and disciplines when some are poetically inclined, and others are research inclined?
Is poetry a ‘non-extractive’ method of research? How are the risks of colonising and appropriating poetic traditions being articulated and managed?