Arachneversary – Vindication

Vindication is an anthology with a difference, only six poets, with between six and ten poems each. In this video, celebrating eight years of Arachne Press, all but one of the poets get together to talk poetry, women and many other things. Complete with readings. We enjoyed outselves so much we are thinking of doing this regularly!

 

You can buy Vindication from our Webshop. If you want the august discount be quick! add ARACHNEVERSARY at the checkout.

Lockdown Interviews: no26 Laura Potts, interviewed by Anne Macaulay

Twenty-sixth in a series of author-to-author interviews to distract them, and you, from lockdown torpor. Laura Potts (Time and Tide) interviewed by fellow poet, Anne Macaulay (The Other Side of Sleep, Vindication)

 

Laura potts

Anne family tales

Anne: Hello Laura, it’s been really enjoyable reading some of your beautiful poetry. I would like to ask you a few questions about you and your writing. The first thing that struck me when I read a little about you is how young you are, and how prolific and successful already. I must confess to a feeling of envy, as I didn’t really start writing until my late fifties and even then, it took me a while to think of myself as a poet. Can you remember when you first wrote a poem and when you first thought of yourself as a poet?

Laura:  Hello Anne!  Thank you for your kind comments.
The exact age when I started writing is unremembered, but I must have been very young. I’ve always written in one way or another. Prose could hold my attention for an afternoon, but poetry always stayed with me. I think it was the music. It was lovely on the tongue. Can I remember the first time I wrote a poem? No, I don’t think so. But I can remember writing limericks for my dad in the evenings. I must have been six or seven then. I would slip them under the door of his shed as he worked. It was my way of welcoming him home.
I’ve tended not to think myself as a poet in recent years. I write poetry, yes; but it isn’t my profession. There’s a slight distinction to my mind. My work is still wild and juvenile, and I have a lot to learn. The title is something I’m still reaching for.

Anne:  Are you from a background of literature lovers? Who or what sparked your interest in poetry and writing? Who were your early influences – family, friends, teachers?

Laura:  I was lucky enough to be born into an older household where my grandparents had a constant presence. I was their only grandchild, and it was as if they grew young again when I came along. For two octogenarians, they played and danced and threw snowballs in winter, and paper planes in summer, and made dens and spinning worlds out of living room furniture. They gave me endless time. My grandmother taught me to read. She collected dusty books and poetry. I spent many evenings by the fire, lost in the folds of her dressing gown, listening to her read in her great gravelly voice. That was where it came from. Nothing taught or learnt. Just two bright imaginations.

Anne:  Your writing is beautiful with a lyrical, musical quality. And some of your poems have the atmosphere of folk ballads. Is music a big part of your life? Do you play, listen, at all?

Laura:  Yes. It’s strange, but I’ve always heard music in terms of colour and light. A piano is usually blue; a drum is gold; pipes are silver. I don’t have the words for explaining why. It’s an emotional impulse rather than a rational thought.
I play the ukulele and the piano – both equally badly. My mother is an excellent pianist and my father a fine bagpiper, but I’ve never quite had their talent. I love to listen to the piano in the evenings though. Especially through bathwater. Have you tried that? Our piano sits in the room below the bathroom and its aqueous music is beautiful. It’s like warm running water.

Anne:  There is a real feel of flow, fluency in your work, Laura, which made me wonder about your writing method and approach. Where do you get your ideas? Do they just come as moments of inspiration?

Laura:  Difficult question! I suppose my poems aren’t born as ideas as such. They’re the responses of emotions I’m living at the time of writing. I’ll be aware, for example, that I want to write about love, or grief, or anger, and my thinking will revolve around adequately translating those emotions to the page. But I’ll never set out to write a sonnet or a haiku or a narrative poem, and it’s rare that I’ll set out to write to a particular theme. Ian Duhig once gave me some valuable advice which has stayed with me. He said that writing is a process of carrying emotion, and that you’ll never know where the poem will go until you get there. The thinking and feeling processes are just as important as the writing process. There’s some freedom in realising that, and in letting time take its course. The poems are better for thinking on.

Anne:  And do you do much editing – do you worry over a piece?

Laura:  Yes, of course. There are times when I love and loathe my work. It’s a constant fight against language. I tend to edit as I write, which makes the process long and laborious, but I’ve learnt to expect the best results that way. A poem can keep me awake at night – for both the right and the wrong reasons. It often brings pleasure and pain. But I’ve come to see that each mistake paves the way towards progress. It’s taken a long time for me to accept that. There’s a reason I keep writing. The love outweighs anything else.

Anne:  I asked at the beginning about your earliest influences and am wondering now about later influences through academic study and independent reading. I also read that you have been involved in a number of writing groups and projects.
Are there any poets or other writers who you feel inspired you to become a writer? Did any of them influence your writing style?

Laura:  Yes, many. I’ve always believed that the best writers are the best readers. It’s important to step outside the vacuum of your own thoughts and into the work of others. I’ll often find the tracings of other writers in my poems, especially those I was reading at the time of writing. I see Dylan Thomas and Sylvia Plath, E. E. Cummings and Liz Berry. In certain lights, I see memorable parts of prose and music. Most of them are only subconscious ghosts, fragments of one moment when their words chimed with mine.

Anne:  While beautiful, there is an atmosphere of melancholy and sometimes bleakness in many of your poems that I have read. Are you drawn to these subjects from an aesthetic and sensitive care for human’s viewpoint? How much of you as a person, your story, your personality slips into your words or are you able to keep at a remove?

Laura:  I think it’s fairly impossible for writers to place themselves at a remove from their work. Their language, their semantics, their structure – they all betray parts of the person who chose them. If I were trying to be objective, I would say that my poems are always concerned with the landscape of my home. Whether Yorkshire exists in them or not, I see it. And I think they’re fascinated with sadness. It’s something I’m still trying to understand. There’s a longing or a loss in there somewhere. I think there’s one in me too.

Anne:  Some of your poems have a timeless feel to them such as First Light which is in the Time and Tide anthology by Arachne Press – see your opening lines,
  It is somewhere in a sometime
That a long late night

And others feel more contemporary such as Morning on the Water where I love the visceral quality of the line,
    Poured a hot greasy laugh
Are you seeing your writing develop or change as you go along, or do you have a range of styles you work in?

Laura:  Yes, it develops from one poem to the next. The progress of my voice has been gradual, like a slow opening of thought. I’ve never set out to have a style as such, but I suppose I’m a very imagistic writer. I don’t like wasting words. With each poem, I try to hone that craft a little more.
I’m sure many readers will be familiar with the process of applying for grants or awards, and the ridiculously long application forms which go with them. Recently, I started thinking about why I dislike them so much. It isn’t the foundation or the reasoning behind them, and it isn’t the time I have to spend on them. It’s the fact that I love to work with a blank white page and play with a limited space. And I wish I didn’t have to spend five thousand words explaining that.
But since that realisation, I’ve been paying a lot more attention to the blank space of the page – to its absences and silences – in my recent work. I’ve come to see that what isn’t said is just as important as what is. That’s the development which has just begun.

Anne:  And do you have a poem that is a favourite or has a special story that you would like to pick out?

Laura:  Yes. Virginity will always be a special one. It was written after a long period of absence when I had managed to write very little. For a time I thought I would never write again. I took myself away, alone, to a secluded cottage in the Lake District. With time and solitude, I managed to write. More than that – I was pleased with the poem. It was a small triumph at the time. It still is. The experience was necessary. It taught me that the words will come back, even after a long absence. I’ve been writing ever since.

Anne:  I have really enjoyed reading some of your work in preparation for this interview and look forward to reading more in the future. Good luck, Laura.

You can buy all the Arachne books mentioned from our webshop, we will post them out to you.

If you would prefer eBooks, all these books are available from your usual retailer, now VAT free! We recommend Hive for ePub.

Lockdown Interviews: no20 Anne Macaulay interviewed by Ness Owen

Anne family tales

Anne Macaulay

Anne Macaulay (Vindication, The Other Side of Sleep) interviewed by fellow Poet, Ness Owen (Shortest Day, Longest Night, Dusk,  An Outbreak of Peace,  Noon, Time and Tide, Mamiaith)

Ness_Owen (4)

Ness:  I very much enjoyed reading all your poems in the Vindication anthology. They have a ‘travelled’ feel to them. Are you an avid traveller? Where is ‘home’ for you?

Anne:           That’s very kind of you. I love travelling. It is not just the pleasure and relaxation part of it though of course that is important. It is part of my passion for learning and enjoying difference – food, architecture and other cultural aspects that add to my joy at broadening my experience. My flamenco poems are an example of this. I love the colours, the drama, the music in all its forms – guitar, voice, percussion, particularly the power of the clapping and how these rhythms are manifest in the dance. It is a very different culture from my original home in rural north Scotland, but the power and passion of music and dance have always drawn me in. My current home is in the east of London and has been since the 70s. I love the mixture of peoples and cultures making every day like a travel experience.

Ness:  Identification in Vindication is a hauntingly powerful poem. What was the inspiration for it?

Anne:           The opening lines refer to my ‘Greek foot’. My long middle toes were often the subject of teasing by my sisters and embarrassment for me as a teenager. It was a revelation to see my feet in some old statues in museums and it became a bit of a joke. I must have been thinking of this subconsciously while I washed myself as the first lines popped into my head one day as I stepped out of the shower. I probably watch and read too many crime stories as somehow it suddenly seemed easy to imagine myself lying on a mortuary slab with a clinical discussion going on about my dead body. As I did this, it didn’t feel maudlin, rather it felt interesting to compare the factual details of a body with the human being who once occupied that space. It gave me a vehicle to self-reflect.

Ness:  Are there common themes in your poems that you return to?

Anne:           Like a lot of people the themes of childhood and family and who I am often recur. I had a very old-fashioned, strict, but loving, upbringing as the fifth of seven children. My father was a Church of Scotland minister from the Outer Hebrides and my mother was a teacher and also hailed from the Highlands. Fathers and Daughters in Vindication brings in my father and my husband when we reconciled over not having a religious wedding by having a blessing in my parents’ living room. I have written, too, about my children and as a new grandmother I suspect I may soon expand these family poems to include my beautiful new granddaughter. However, as is shown in Vindication, I also go beyond my immediate world. For example, the theme of feminism is close to my heart as well as concerns for treatment of all groups who are oppressed for example, the poems Vindication, Here Lived and A Man Once Said to Me. However I rarely write overtly political poetry and sometimes my poetry stems from a sudden random thought – this has happened several times after stepping out of the shower. The poem, I Went to the Market and I Bought, which appears in the Arachne Press anthology, The Other Side of Sleep, was one such.

Ness:  You have had a long career in education. Would you say this has had an impact on your writing?

Anne:           I loved my years in education – working to give young people the best of chances to become their best as human beings contributing to society was always my goal. I suppose that made me very aware of human nature dealing with it, shaping it, in all its forms, in the classroom, the corridor and the playground. So perhaps I gained insights that find their way out in poetry. I actually didn’t really do much creative writing, poetry or prose, until the end of my career. Work occupied so much of my time that I didn’t have time for much else. However, I am so grateful that I started poetry classes as a diversion from not working and found that after all these years of considering myself very uncreative, that I get great satisfaction from writing, particularly poetry.

Ness:   What’s the most read poetry book on your shelves?

Anne:           I came to poetry late and so when I was young and, as a teacher of English for some of my career, I would have read mainly the school canon. Writers such as Gerard Manley Hopkins, Wilfrid Owen, Robert Burns, Sylvia Plath would have been some of the ones I read most and enjoyed. Sometimes it was just individual poems stuck in my mind like Stevie Smith’s Not Waving but Drowning or Frances Cornford’s Childhood rather than collections. Since going to classes at City Lit and The Poetry School it has been fantastic being introduced to contemporary poetry. I have enjoyed so many new works in the last few years it is hard to choose. I have also had the added enjoyment of reading pamphlets and books written by people I now consider friends as well as poets I admire. All the poets I have had as tutors are great poets whose work I enjoy and have been generous in sharing their appreciation of other peoples’ poetry: Clare Pollard, Roddy Lumsden, Chris McCabe, Matthew Caley, Sophie Herxheimer, Sasha Dugdale and Mark Waldron – but if you’re going to pin me down on this, I would have to say that Roddy Lumsden’s So Glad I’m Me is probably the most read, recently. This is for a number of reasons. I love Roddy’s poetry and it would probably take me too long to define why. Like most of his students, Roddy’s class and his writing had a huge influence on me, and I used to say to him that I could feel him looking over my shoulder – telling me I needed to do a lot of rethinking and redrafting! This particular collection, sadly his last before his death in January, has many poems written to or inspired by different people he knew and one of those (Small Calamities) was written for me after I’d had a bit of a crisis. This of course makes it more personal for me but also, I love all the poems in it.

Ness:  What’s the best and worst advice about writing poetry that you’ve been given?

Anne:           Writing is so personal that different things apply to different people and their varied writing styles. I think being advised to read work aloud has been very helpful and re-reading with an ear not just to sound and rhythm but to flabbiness! So cutting is often very helpful. However I think it is important to hold onto one’s own belief in work. I remember once I brought a poem back to an early workshop where I had tried to take on board everything my classmates had said. One of the class said to me at the end quietly, ‘You can sometimes over-workshop a poem’. I was really grateful for that, and now only take on board advice that fits totally with my own thinking.

Ness:  Following on from that, if you could give your younger self advice what would it be?

Anne:           That is quite difficult as I never considered myself a poet until in recent years. I certainly wish I had considered myself as having a creative side when I was younger, and that I had started writing in my youth. Perhaps I would say to myself – there is work and there is family but set aside something for yourself whatever it is to do even if it is only now and then.
Ness:  What are your future writing plans?

Anne:           I am not great at planning and looking forward. I think my writing plans would be helped if I did more reading of other poets’ work. I have had poetry published in anthologies but would love to have a pamphlet or collection out of my work as an individual poet. I think this interview has made me think I perhaps need to be more organised and disciplined as a poet if I am ever to come close to achieving that goal. Maybe that should also be a bit of advice to my younger self too.

You can buy all the Arachne books mentioned from our webshop, we will post them out to you.

If you would prefer eBooks, all these books are available from your usual retailer, now VAT free! We recommend Hive for ePub.

Happy National Poetry Day 2018!

To celebrate National Poetry Day, here are some more poems from the Vindication Launch on September 26th.

(you can buy the book direct from us, or from your favourite bookshop

Carrie Cohen reading Sarah Lawson‘s Driving up to Renfrew

 

Anne Macaulay reading the title poem, Vindication

 

Carrie Cohen reading Sarah JamesWaking Woman

 

Elinor Brooks reads Consulto et Audacter

 

Adrienne Silcock reads Bees

More from Vindication Launch

Elinor Brooks reads Mathew Trewella and the Mermaid of Zennor

Anne Macaulay reads part of Identification

Happy Publication Day, Vindication

It’s publication day, and here are some of the readings from  last night’s launch at the Poetry Cafe

 

 

Adrienne Silcock reading Drought, Winter 1929

 

Carrie Cohen reading Sarah Lawson’s Leda

 

Anne Macaulay reading two flamenco inspired poems, Traje de Lunares and Palmas Return

 

Carrie Cohen reading Sarah James’ Ye Olde Tavern

 

Elinor Brooks What Country, Friends…

Launch Info for Vindication

We are launching Vindication on Wednesday 26th September 19:00-21:00

at the Poetry Café 22 Betterton Street London WC2H 9BX

with readings from Jill Sharp, Elinor Brooks, Adrienne Silcock, and Anne Macaulay

The Sarah’s (James and Lawson) can’t join us, but we hope their friends will come anyway!

Everyone Welcome, but please RSVP!

Vindication is part of Arachne Press’ celebration of #WomenVote100, Poems from Sarah James, Sarah Lawson, Jill Sharp, Elinor Brooks, Adrienne Silcock and Anne Macaulay.

A showcase for poets published previously by Arachne Press in our anthologies The Other Side of Sleep, Shortest Day Longest Night and Liberty Tales, given an opportunity to explore a wider perspective with up to 10 poems each, wild, audacious, silly, and deeply serious.

On the subject of poetry – we will be at FREE VERSE Poetry Book Fair

Saturday 22 September 2018, 11:00 am5:00 pm Senate House. London

 

Year of the woman

Today is International Women’s Day, in the centenary year of partial suffrage for women.

So an important day for women, but, you know, women are women every day, and there’s still plenty of work to be done, on all sorts of fronts, so celebrate and then roll up your sleeves…

Our small contribution is to do what we do anyway, but do more of it. We are publishing a number of books over the next nine months and most (not all) will be by women.

April
Kate Foley Poetry Collection: A Gift of Rivers

Kate is reading from the collection at Gay’s the Word on 5th April and we are investigating a launch in Amsterdam.

May
Cathy Bryant Poetry Collection: Erratics.

Cathy and Kate are taking part in a seminar on diversity and inclusivity in the poetry world at London Book Fair on 10th April at 17:30 at the ‘Poet’s Corner’

June
The final installment of The Naming of Brook Storyteller: Wolftalker arrives from Ghillian Potts.


Also in June we have the official launch of Dusk which will also kick off thinking about 2018’s Solstice Shorts festival, Dawn!

July Five by Five: 5 short stories each by Katy Darby, Joan Taylor-Rowan, Cassandra Passarelli, Sarah James, Helen Morris

August
We are teaming up with Liars’ League for our official #womensvote100 anthology, We/She featuring stories about women by women. Final line up yet to be finalised but expect stories from:
Carolyn Eden, Katy Darby, Elizabeth Hopkinson, Elisabeth Simon, Elizabeth Stott, Fiona Salter, Ilora Choudhury, J. A. Hopper, Arike Oke, Jennifer Rickard, Jenny Ramsay, Lucy Ribchester, Peng Shepherd, Rosalind Stopps, Joanne L. M. Williams, Swati Khurana, Uschi Gatward.

September
Vindication: an anthology of up to 10 poems each from
Sarah James, Sarah Lawson, Jill Sharp, Elinor Brooks, Adrienne Silcock and Anne Macaulay

November
We are commemorating the end of WWI with poetry and short story anthology An Outbreak of Peace.

 

The Story Sessions Winter tales videos

Videos of the readings from January’s Winter Tales Story Sessions.

Stories:

Poems:

Thank you to everyone who came along and read: Rosalind Stopps, Math Jones, Cath Blackfeather, Nancy Charley, Anne Macaulay, Michael Carey, Alison Lea, Annalie Wilson.

And to those who couldn’t make it and were read by Annalie: Megan E Freeman and Karina Lutz

if you want to take part in the NEXT Story Sessions, the theme is Retelling Tales (so… myth/ legend/ folklore/ famous stories with your own take) Headlining: Jennifer A McGowan.

We’ve got some great ones already, but we’d like more to choose from. Submit via Submittable, before the end of February for this one, or if you have something for May’s Fantasy theme you have a bit longer.

As usual, Annalie Wilson is available to read on behalf of people too geographically distant  to make it, and the very shy; and there is a SMALL budget for travel expenses if you want to come and read yourself. Plus of course, the audience luck dip that is Flash From the Floor. 100 words on theme prepared in advance or written in the interval!

The Story Sessions- Coming Up: Winter Tales

gate-burton-frostWe have the line up for The Story Sessions for 18th January, Winter Tales

We are not entirely sure which authors/poets are reading their own work, but the material is chosen…
Headlining:
Rosalind Stopps Deliver Me
Math Jones Skadhi’s Laughter
Megan E Freeman On Winter Days in Northern Norway, read by Annalie Wilson
Karina Lutz New Kinds of Weather read by Annalie Wilson
Cath Blackfeather Winter Tale
Anne Macaulay It’s January Where We Are Now
Testbed:
Michael Carey Regeneration
Plus, music from Annalie, and, we hope, plenty of Flash from the Floor from the audience!
Join us at The Brockley Deli 14a Brockley Cross SE4 1BE at 7.30 on Wednesday 18th January for music, murder, myth, laughter, and all kinds of weather.