Part Four in my blog post series about my poetry practice: Assembling a collection
Having admitted in previous posts in this series that I don’t always know exactly what I’m doing when setting out to write a poem, I must now confess I find the art of putting a collection together even more mysterious…
For a long time I didn’t write anything at all. That’s not to say I didn’t think about writing – I always went around noticing things – such as, fascinating, but fleeting casts of light, couples in the street, not obviously arguing but with faces that suggested, not all was well. A Bristol, or a London hill, its character, buildings, history. The atmosphere of a pub. A bird in a tree, an overgrown graveyard. An unassuming lane…
Welcome to the second in a series of posts on my poetry practice, as publication of my first collection – with Black Bough hoves ever closer into view. Notes on Form. I probably shouldn’t admit this, but my understanding of how a poem works, or how its construction works, in a technical sense, remains a…
A brief appreciation of Jonathan Raban, upon his death.
A quick word about Imposter Syndrome.
I was recently asked by online literary journal Mono if I’d like to write a guest post for them on finding inspiration in the mundane. Regular readers of Richly Evocative can make up their own minds about why they might ask me to do such a thing… If you’re interested in reading the resulting short…
As the beam touches you, it has a near instant effect, quickly drawing your thoughts out through the window and filling you with a desire to be out there, on the other side of the glass, walking in the sunlight, exploring the city streets, or escaping over the horizon, (I like to think of this particular effect as a positive variety of Corpse-light or Willow-the-wisp, but without the danger of being drawn into some terrible dark and boggy end).
Is there anything beneath your surface?
Maybe you’re all surface?
Hello…Hello…Hell No,
No ripples on your vacant face
Richly Evocative 