Tag Archives: #poetrytechnique

New adventures in poetry

Oh the gloom has lifted (just in time for Lockdown #2 hoorah) as it generally does these days. I have enjoyed some sunny days, I’ve a good clutch of  copywriting work which has made things a little less worrisome and I’ve had my first order for Poems from the Hare. 

Remnants of sunshine and food for the finches

Poems from the Hare ? What’s that? 

Put simply, I’m selling poems. Put less simply I’m creating bespoke work for people, based on what they tell me they want me to write about. After I’ve created the poem, I write them out, add some beautiful decoration and post them off, with the goal of bringing joy and love and happiness.I guess you might call it a business – although it’s easy to shy away from that term, and I know I‘ve felt uneasy about the whole idea of offering this service, as though I’m somehow devaluing the art. Then I realised that every other artist and maker I know sells their work, and I’m always eager to support them – so why do I feel different about this? 

I think it’s something to do with the way poetry is regarded. It’s either seen as a puzzle, something for the hyper intelligent, the well-to-do, or it’s somehow awful – think forced rhymes and saccharine greetings cards (although these do have their place especially for my Aunty). Poetry isn’t seen in the same way as painting or pottery, as something to just buy and enjoy because you like it. The myths and fuss mean there’s this mystery and worry about “understanding it” and finding the hidden meaning. I’ve had countless friends tell me they like a short story, but don’t “do” poetry. It’s almost not enough to just enjoy the way the words feel in your mouth as you say them, or the fact that it made you cry or smile or think of someone you love. It feels as saleable poetry is either so obscure that the highbrow fawn over it, or so marketable that it’s consumed like a handful of foam shrimps, leaving a slightly synthetic taste and a feeling of utter despair. */**

In short, I needed to get over myself. I love writing poetry, I love people reading it and I love,love, love it when the words I write move, delight  and last in their minds. 

Why Poems from the Hare? 

I love hares. 

To expand a little – I enjoy their place in mythology, I enjoy their place as a symbol for the persecuted, the unfairly hunted, the marginalised. I also love their gawkiness, their not-quite-beautiful look. Hares are not blessed with the cuteness of rabbits (which I also adore), they demand attention, then belt away across a field without a second glance. I’m also kind of affectionate towards them because my poem My death will greive foxes is one of the first peces I felt really proud of. It makes me happy still. 

The first commission

My first commission came a couple of days ago, and after my initial and utter delight, I experienced the usual rush of “oh my goodness I can’t do this” and that feeling that I’m going to be found out as not a real poet ( I read a comment once “there are poets and Poets “ It’s haunted me a little ever since – what if I’m not the one in italics. Do  want to be? How would I know? Will you know? ) and then I remembered that I really, really want to do this.

It’s a scary thing. A gift of words. I started by emulating the work I’ve seen on Etsy – very appealing, clear, classic rhyme. Straightforward solid poems. It felt like wearing a pair of beige court shoes. So I thought again, and decided to write in the way would normally write, to write with something to say, rather than something to sell. I sent a tentative draft, full of caveats and apologies and  you know what ? I’d got it right! My hunch about what might be needed paid off. I’ve another draft or two ( they have to sit a little) but I like what I’ve written and feel confident that it will do the things I talked about above. It’s made me happy. 

So I have added another string to my bow as it were. I will still need to spend days writing about bifold doors and oven cleaning, but if i can slot in a few beautiful bespoke poems along the way I’ll be delighted. 

If you’re (or anyone you know) is interested in commissioning one of my Poems from the Hare just email kathrynannawrites@gmail.com and I’ll get back in touch within a day or so. 

Thanks, as ever, for reading. Stay safe 

Kathryn xx

*I may be overegging this a tad

** this isn’t true – there are many wonderful small presses and journals designed to explode this myth. You’ll find them in your local indie bookshop or online. Nine Arches Press is a a good place to start, as well as Mslexia, Riggwelter Press and Paper Swans

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I have a big stack of envelopes

…and I’m daftly excited. Why? because it means publication day is getting closer! My zine is at the printers and soon there will be copies winging there way to crowdfunders, waiting in our wonderful local bookshop and generally making this all feel rather real. There were time when I never thought this project would bear fruit, for a variety of confidence based reasons. Having other people get behind me and give me a gentle shove has made all the difference, and the sheer joy of having support from so many people via my crowdfunder is a massive boost. As soon as the copies I’ll take a million pictures of them and let you know how you can buy one.

This confidence has helped me cast a critical eye over my other work too, and I’ve spent this month putting together my first pamphlet submission. For anyone who doesn’t know, a pamphlet is a short collection of poems, usually around 15 or so, that centres around a particular theme. For me, identifying this theme has been a case of going through my work and seeing what threads and thoughts run through my work and putting together what amounts to a kind of story. There may well be a “proper” way to do this (this is another time when I kind of wish I’d had the wherewithal to complete my creative writing degree), but going by the pamphlets that I’ve read, this seems to be how they work.  I’ve worked through things like the order, as well as refining and redrafting each poem, before summoning the gumption to press send and submit to . My little pamphlet is winging its way to Nine Pens as we speak. This is a new press that seems very friendly and open to work from new poets. They’ve already had over thirty pamphlet submissions, out of which nine will be chosen for publication. My chances of being chosen are small, but I’m getting used to taking these gambles, and the very act of putting together another group of poems that if feel are worth sharing is a positive and pleasing act.

I’ve submitted to fewer journals this year, and avoided most competitions – partly because of cash (competitions and some journals charge for submission) and also because I’m starting to see my work as a whole entity. The dopamine hit of winning a competition or getting a magazine publication has become a little less important. That doesn’t mean it’s not a massive thrill, I’ve still got my copy of Popshot casually placed on my living room table, but something has shifted in terms of validation and my ability to assess my own writing. I throw out a lot more than I keep in, but my critical eye is less hostile.

Taken in the Brecons – when we could still travel…

So a lot is happening this autumn, paid work is thin on the ground which is tricky, but hopefully something will turn up soon. I’m getting a few more views on my website which is something at least. Over the next week or so I’ll be setting up my Etsy shop, where you can by the zine, plus I will be offering bespoke poems for sale, just in time for Christmas!

Please like and share this blog, especially if you’re reading on one of the social media platforms – it’s one of the most useful ways to help me grow my audience.

Thanks as ever for your support – next post will be the title and cover reveal of the zine – how ace is that?

Stay safe, wear a mask, wash your hands

Kathryn xx

It’s working – and so am I

I had a feeling joining my new course Approaching your writing with a beginner’s mind would be a positive step and I was right. Since it started I’ve had a prompt each day, and each day I’ve been writing. Now you may be wondering why I need a course, when there’s so many writing prompts available online. The difference is the structure and style of prompt we’re given, and the fact that I’ve got a place to share what I’ve written – there’s not masses of feedback but being part of a group that’s working to the same goal is a cool thing, especially for an isolated soul like myself. The prompts aren’t especially complicated, but they have the effect of making me write from the heart. Combine this with the non-threatening, non-competitive nature of the group, and I feel happy to write and share my work, regardless of what state of “finished” it is. I’ve written a sonnet, several slightly chaotic free writes and have two or three pieces that have “got legs” as it were. I look forward to the prompts each morning, and already feel like I’ve regained some of the joy in just writing, that seemed to have deserted me at the end of last year. As well as interesting prompts, we look at new thoughts and ideas in poetry , and how we respond to them as creative people. It’s a gently challenging course, and just exactly what I need. You can find out more about Wendy Pratt’s work and the courses she offers here https://wendyprattpoetry.com/about/

I’m also working through The Ode Less Travelled, Stephen Fry’s book that uncovers the intricacies of meter, rhyme and form. In many ways I wish I’d worked with this book years ago. I may not suddenly start creating poems built entirely from dactyls and amphibrachs ( I truly won’t), but knowing the correct terms, and working with them is building my confidence. I also find that I enjoy the puzzle, the thinking of the right word to fit the form and convey the meaning. It’s restrictive, but that restriction is kind of freeing. It takes me away from simply writing and forces me into a structure, which draws on a different type of creativity.

Finally, I’m well enough to do some bits and pieces of work – nothing exciting, just product description and a few travel things, and the pay is woeful, but it’s got me back into it and again built up that fragile confidence. I’m hoping to be able to stay well enough to start approaching local businesses about providing content for their websites this year – a bit of gumption and a spot of luck are needed I think.

The year so far has been both terrible and wonderful but I feel like I’ve turned a corner.  

Thanks for hanging in there, the very fact that folk read these posts delights me

Dedication

I hated Record Breakers. It was incredibly dull (except for the domino challenges), and all that wholesome patience grated on me. It still does, even more so now I know it’s true.

Getting work published takes a long time. The first step is research. Which journal is most likely to like my work? Where’s open for submissions? Who’s judging competition x and have I read enough of their work to know their style and interests? Next, you submit. Follow the guidelines about word count, number of lines, preferred font. Write a good cover letter (not too long, but enough to show you’ve read the journal). Then you wait. And wait. And wait a bit more. I’ve had responses in a week. I’ve waited over six months. Some places accept simultaneous submissions, many don’t – so my work sits and waits too. It’s a frustrating process, but since many indy presses are run by tiny teams or volunteers, it’s understandable. The thrill of having something accepted is wonderful. Even a kind rejection (where they ask to see more work soon) is ok. The waiting is tough, but the best way to get round that is to throw myself into something new.

Cat is waiting to hear about his poem “Why do the mice all run away?”
Attingham park looking moody

I’m looking forward to Autumn now – although I miss the light terribly- it’s a time for squirrelling myself away and writing. Obviously Secret Severn work takes priority, and my goal is to get drafts done by Christmas. I’ll put them away for a while, then revisit and revise in the spring. I’ve got an urge to write stories again too, so I’m hoping to spend time with writing prompts and get some of these floating ideas down on paper. It’s a time of watching the garden fade and prepare itself for next year, reading all the things I’ve not got round to reading, and maybe watching a bit of Record Breakers*.

Thanks for doing such a great job last week, after my slightly awkward plea for interaction with my social media pages. If you’ve chance to do the same again that’s ace – plus I really love talking to you !

Click to read my published poetry or published flash fiction. You can read old drafts and work in progress by following the links on the menu.

*I’m probably not going to watch Record Breakers.

Pots and porcelain paper clay – Mike and Suki White

My last visit before the trail was to Mike and Suki White. They’re multi-talented, working with print, clay, and porcelain as well as being part of Wrekin Writers group. Their studio is tucked behind the Belfrey Theatre in Wellington, and it’s shared with several other ceramicists on the art trail.

On the day I visited, Mike was throwing pots, and Suki was working with porcelain paper clay. Mike explained the type of clay he was using, and about “grog”, ground up fired clay that’s used to give extra strength to pots.

As all good artists do, he made throwing the pots look effortless. Having taken up the invitation to have a go, I can confirm it’s not effortless. My attempts were hilarious, but I can see there’s something addictive about the feeling of creating something that manages to be useful and beautiful from a simple piece of clay.

There’s no fancy equipment, the finished shape and look of each piece depends entirely on the skill of the potter, and I think there’s something pleasing about this. Rather than something uniform and a little soulless, each piece that comes off the wheel has the imprint of the maker and is inherently unique.

One of Mike’s finished pieces

Suki’s work porcelain paper clay enchanted me. Porcelain is white, delicate and fragile – Suki takes all of these qualities and creates pieces that have movement, and a sense of rebellion. They’re alive with texture, and the oxides she uses mean they have depth and tone. She prefers to leave her pieces unglazed, and the matt finish increases the sense of fragility.

I loved this piece
One of Suki’s finished pieces

We chatted about the Japanese practice of Kintsugi, the art of seeing beauty in imperfection. Suki showed me some pieces she’s applied this to, where cracks from the kiln have been repaired with gold, creating a piece with a unique beauty.

Suki’s Kintsugi

I’ve a good collection of material from this visit. I made good notes about the sounds and physical sensations of throwing a pot, as well as spending time looking at the contrasting beauty of the porcelain paper clay.

Over the next week I’ll be going to several workshops as well as spending time in the galleries. This is the next phase of my inspiration gathering and research, where I’m going to capture the responses of viewers to the art they’re seeing. I’m looking forward to this phase, and to seeing the exhibition as a whole.

You can see Suki and Mike’s work at Footprint gallery as part of the Secret Severn art trail, and find out more about their work on their Facebook pages https://p.facebook.com/sukitelford/ and https://www.facebook.com/MikeWhitePots

For details about the Footprint gallery, and the rest of the trail which includes workshops and open studios visit https://secretsevern.co.uk/

Thank you for your kind support and encouragement during this project. It’s great to get such positive feedback. I’m looking forward to the next week, but I’m especially looking forward to being able to hide away with my notes and write.

Please share, comment on the Facebook post, and give me all the likes you can. Thank you x

Kathryn xEDIT

Shropshire hills, and swans in Prague – a visit with Maggie Humphry

I’ve admired Maggie’s paintings for several years, so I was really excited about the chance to spend some tine with her. Maggie’s studio is unassuming and bursting with beautiful work. She showed me her huge range of styles, moving from vivid, almost abstract pieces to delicately detailed country scenes and charming festive illustrations.

Two of my favourite pieces are in this downstairs gallery; a piece based on her experience of a choral rendition of A.E. Housman’s Blue Remembered Hills, and Shadows of Moon a swirling image of the hills. Both of these pictures make me feel as though I’m travelling through the landscape, and give a sense of there being a world waiting to be discovered beyond the frame.

Shadows of the Moon

Maggie explained that her career began as a ceramicist and she has produced many ceramic murals all over the country, including the fabulous blue dragon that welcomes visitors to the Dragon Theatre in Barmouth. Working with clay takes it’s toll however, and Maggie now works with oils, as well as creating detailed line drawings and illustrations.

One of Maggie’s many ceramic murals

I also spent a little time in Maggie’s beautiful garden, which is a paradise for bees and nature as well as humans. She explained that she loves to be here in the early hours – that secret time of day before people are up and about.

Next, it’s up the stairs to Maggie’s work room, past a mural of geraniums that covers a patch of less than perfect plaster. There’s a sense of energetic chaos in the room, enhanced by a soundtrack of Mahler, which Maggie described as mirroring her work with its combination of movement and precision. Maggie showed me some of her most recent pieces, based on a friend’s memory of seeing swans in Prague. I really fell for these, and Maggie was kind enough to let me spend some time just sitting with the paintings.

Newly completed Swans in Prague.

There’s a mystical, magical quality to Maggie’s work and it’s this that I find captivating. As we talked about various pieces, she explained how they evolve and develop, and create their own dialogue. This chimed with me as a writer – creating a poem or story is very much about allowing the words to emerge, and allowing the poem to breathe itself into life. There is an idea and an inspiration, but there also has to be a sense of trusting the work itself.

You’ll be able to see Maggie’s work as part of Secret Severn Art Trail in the Footprint gallery at Fusion, where she will also be Artist in Residence, no doubt wearing a marvellous hat. To find out more about her work, visit http://www.maggie-humphry.co.uk/

Kathryn Anna Marshall is poet in residence for Secret Severn art trail. Find out more at https://kathrynannasite.wordpress.com/secret-severn-art-trail-poet-in-residence/ or on https://www.facebook.com/KathrynAnnaWrites/

Visit https://secretsevern.co.uk/ for a map of the trail, as well as details of open studios and workshops.

Feeling like a tortoise

As well as my Secret Severn research, I’ve been polishing my competition submissions. I’ve had to pare back my entries this year, partly because of cost, and partly because I’ve tried to adopt a more intelligent approach.

When I first started entering and submitting, I was so nervous I just pinged poems to every publication that came up. I had some success, but this year I’ve tried a more measured approach. I suppose I’m seeking quality over quantity. I’ve also got over that first rush of excitement about having work published, and moved back to being focused on creating work that I feel proud of, and that I need to write.

I’ve been struggling to write anything new, partly because I’ve been busy, and partly because my brain is having one of its tired phases. I recognise the signs now and know that it’s just the M.E. rather than anything else. Now I’ve got my submissions off, I’m taking a week or so away from it all, before refocusing on Secret Severn for the rest of September and into October. It’s time to read my favourite chilled out writers, maybe dip in and out of some new poetry I’ve got on my bedside table, and spend a bit of time in fields listening to new music.

As ever, getting people to engage with what I write means a lot – if you’ve read this far thank you!

I’d love it if you’d like the post on my Facebook page https://www.facebook.com/KathrynAnnaWrites/
and if you’ve a moment to comment on any of my social media posts, it increases visibility.

Thank you!

Cut up your words

My Poetry School course this term is Ancient Tongues and Hybrid Texts. I’m revisiting my love of Old English and exploring how I can manipulate and combine ancient and modern words to create ones. I’m fascinated by how our minds make meaning,by imprting and amalgamating despite the apparent disparity between the texts. So far, I’ve written a poem about a man trapped on an island, a spell to be used when applying make-up and I’m in the middle of a piece about body dysmorphia and the lies we are told about what a perfect body really is (hint- you just need one that works)

For this piece we’re exploring the idea of Meddle English – a phrase used by Caroline Bagvall as the title of her book – and how modern English is a construct of French, Latin and Anglo-Saxon. From this comes the application of the cut-up technique (pioneered by the Oulipans and made famous by David Bowie). Our assignment was to take an article, cut out and cut up various words. The results are fascinating. Having my feelings about the article in mind made it easy to create words that I felt would work well in my final piece, and again, the import of meaning happened naturally, highlighting the fact that it’s sound and shape that carry meaning rather than specific letters. None of this is new of course, but it’s been good to experiment for myself.

I’m enjoying learning about a sort of sideways technique. My last two courses were very much around form and rhythm, and I’ve benefited hugely from them, but moving sideways into a new way of looking at language has reinvigorated my creativity. It’s exciting to create something that is new – new to me at any rate.

I’m in that same round of submitting and waiting, and after a flying start to the year I’m in a bit of a doldrum, with all the usual doubts about validity creeping in. I’ve found this course has brought the enjoyment back and moved me out of my sad fug of feeling useless. I’m not alone, many writers I admire have the same experience. The perennial downside of social media is just as prevalent in the writing world as anywhere else. Some days it seems like everyone in the world is winning a prize or having something published, then someone pops up feeling exaclty as rubbish as me, and with the same fears. Very often they’re “proper” writers who I read, admire and follow. I have to remind myself that the snapshots of life on social media are far removed from reality.

Here’s to cutting up words.