Category Archives: Publications

Wet grain

Wet Grain is a new, print-only poetry magazine published in Glasgow, and edited by Patrick Romero & Christian Lemay.

They describe it as “a new journal interested in the lyric grooves that channel and redirect our apprehension of the world and the ideas implacably fankling themselves within it.”

They were kind enough to include three new poems of mine, ‘Provenance’, ‘Muse’ and ‘Among Antiques’, alongside work by Eloise Birtwhistle, Richard Price, Elle Heedles, Colin Herd and many others. The cover art (and the photo above) is by Lorna Wade.

According to their Editorial, “taken together, then, these poems are germ, ferment and mulch, warm with a latent and malty potential for life and growth”.

Copies are available from the website at £5 plus postage.

F L Y

F L Y is a new large-format book book published by the municipal gallery in Delmenhorst, Lower Saxony. In it Arne Rautenberg pairs some of his own poems with selected works from the gallery’s collection of contemporary art. Some of the poems were written specially for the project, others are from his earlier collections.

Edited by Dr Annett Reckert, the book is based on an exhibition that ran from March until September. In a year when so much has been postponed and cancelled, or at best moved online, it’s a delight to realise that some real-life projects were still possible.

I’ve translated Arne’s works for many years now, and for the book contributed a translation of his poem ‘gebirgsbach irr’. In English it became ‘hill stream will’, as a way of catching the internal ryhme of the title, as well as the play of meaning around ‘… irr / lichternd’; at one level the phrase refers to the flitting movement of the ‘irr [i.e. the stream], while also suggesting ‘irrlicht’, the will o’the wisp.

I’m just sorry I wasn’t able to travel to see the show. Maybe next year such trips will be possible again.

F L Y (Städtische Galerie Delmenhorst & Muthesius Kunsthochschule, 2020), 284pp. ISBN 978-3-944683-31-7

Oxford-Weidenfeld Prize

I’m delighted that Heroines from Abroad is one of 8 books on the shortlist for this year’s Oxford-Weidenfeld PrizeThe prize is for book-length literary translations into English from any living European language. The winner will be announced at the prizegiving and dinner at St Anne’s College, Oxford on Saturday 15 June 2019.

Heroines from Abroad was published last summer by Carcanet. It’s a first collection of poems by Christine Marendon, with her poems in the original German alongside my translations.

HfA front hires

Zbigniew Herbert in Scotland, 1963

Herbert Collected Holy Iona

In Zbigniew Herbert’s Collected Poems 1956–1998 I came across a single reference to Scotland, in the poem ‘The Prayer of the Traveler Mr. Cogito’ or, to give it its Polish title, ‘Modlitwa Pana Cogito – podróżnika’. Here is the relevant section in the Polish original, followed by Alissa Valles’s translation from Collected Poems.

a także Miss Helen z mglistej wysepki Mull na Hebrydach za to że przyjęła mnie po grecku i prosiła żeby w nocy zostawić w oknie wychodzącym na Holy Iona zapaloną lampę aby światła ziemi pozdrawiały się

and Miss Helen of the foggy island of Mull in the Hebrides for offering Greek hospitality and asking me to leave a lamp lit at night in the window facing Holy Iona so that the lights of earth would greet each other

The poem is taken from Herbert’s 1983 collection Raport z oblężonego Miasta / Report from a Besieged City. I was curious to know more about the time he spent in Scotland, which was in fact twenty years before this collection appeared, in autumn 1963. According to Andrzej Franaszek’s 2018 biography of Herbert, using public transport Herbert travelled north from London, stopping in Leeds, York and Durham before arriving in Scotland, where he visited Edinburgh, Aberdeen, Inverness, Oban, Mull and Glasgow, before returning via Carlisle to London.

Franaszek quotes from a postcard Herbert sent from Edinburgh on 18 October:

Wdrapałem się na górę koło Edynburga i oczywiście spadłem trochę (niegroźnie). Tak trzeba. Ziemio ty moja szkocka ukochana! Jutro jadę, ale dobrze nie wiem dokąd. Dziś w nocy narada sztabu z mapą. Jestem bardzo szczęśliwy, żeście mnie wypchnęli w świat. (…) Przede mną góry i skały, kozice i georginie. Naprzód! Hej!!!

I scrambled my way onto a mountain near Edinburgh and I fell down a little (not dangerously). Maybe a good thing. My beloved Scottish earth! I am leaving tomorrow, even though I’m not sure where I’m going. Tonight there will be a conference of the High Command over the map. I’m very glad that you pushed me out into the world. (…) Ahead of me mountains and cliffs, mountain goats and dahlias. Onwards! Hey!!!

In another postcard, sent from Inverness, he described his mixed feelings about the country: he was ‘exhausted but happy, head over heels in love with Scotland; its beauty exhilarates the tourist. But life without sex… one has to go back.’

He returned via the west coast and, finding himself in Oban, decided to cross to the nearby Isle of Mull and from cross there to Iona or, as he consistently called it, using the English adjective, Holy Iona. ‘Holy Iona, czyli kartka z podróży’ (‘Holy Iona, or a page of travel’) was written in 1966 for the West German radio station WDR, and published posthumously in the collection Mistrz z Delft (2008). Of his perspective of islands, he wrote:

Wyspy nie należą do krajobrazu mego dzieciństwa. Urodziłem się w środkowej Europie, w połowie drogi między Morzem Bałtyckim a Czarnym. Pejzaż mojej młodości to podlwowskie okolice: jary i łagodne pagórki porośnięte sosną, na której najpiękniej kwitnie pierwszy sypki śnieg. Morze było tam czymś niewyobrażalnym, a wyspy miały posmak baśni.

Islands were not part of the landscape of my childhood. I was born in Central Europe, halfway between the Baltic and the Black Sea. The landscape of my youth was the area near Lwów, crevices and gentles hills covered in pine on which the first dry snow bloomed beautifully. The sea was something unimaginable there, and islands had a scent of fairytales.

The crossing to Iona had something otherwordly about it. It was 29 October, his birthday, and the ferry was no longer sailing. The landlady of his B&B at Fionnphort phoned a local fisherman, who agreed to take Herbert on the short crossing. In his radio talk he described their meeting-place:

Zimny, wilgotny, siwy ranek. Stoję w pobliżu jetty, która jest po prostu betonową ścieżką wchodzącą w morze. Ocean jest wzburzony, wysokie fale rozbijają się na skałach urwistego brzegu. Nagle z mgły wyłania się mała łódka rybacka płynąca w moim kierunku. Było to jak podanie ręki marzeniu.

A cold, damp, gray morning. I am standing near a jetty, which is just a concrete path going into the sea… which was stormy, high waves crashing against a rocky coast. A small open boat appeared from out of the mist; it was like extending your hand to a dream.

Once on Iona, Herbert explored the recently rebuilt abbey complex. He was particularly struck by his encounter with a sculpture, Descent of the Spirit’, by the Lithuanian-born Jewish sculptor Jacques (Jacob) Lipschitz (1891–1973), who fled France for the USA in 1940.

williammarnochionaabbey2008
Photo: William Marnoch, Iona Abbey, 2008

Its inscription, in French, reads:

Jacob Lipchitz juif fidéle à la fonde ses ancêtres a fait cette vierge pour la bonne entente des hommes sur la terre afin que l’esprit régne

Jacob Lipschitz a Jew faithful to the heritage of his ancestors made this virgin for the accord of men on earth so the spirit might reign

Herbert, who had witnessed the destruction of Polish Jewry during the Second World War, appreciated the paradox of recovering signs of community in this, to him, remote place. He expressed gratitude to ‘the Jewish artist who had heard so many words of hatred and responded by reaching for the words of reconciliation’.

Herbert returned to Mull, and the Fionnphort B&B, that same day. The evening brought him the image of light which he later incorporated into the ‘Prayer’:

Po kolacji gospodyni prosiła mnie, abym postawił małą lampkę w oknie wychodzącym na Holy Iona. Taki jest zwyczaj. Nocą światła obu wysp rozmawiają ze sobą. (…) Nie wiadomo, co przyniesie przyszłość i jak długo trwać będzie rozdarcie świata. Ale dopóki w jedną bodaj noc roku światła tej ziemi będą się pozdrawiały, niecała chyba nadzieja jest pogrzebana.

After supper the landlady asked me to put a small lamp in the window overlooking Holy Iona. That is the custom. At night the lights of both islands talk to each other. (…) It is not known what the future will bring and how long it might be until the world is torn apart, but as long as one night of the year, the lights of this land will offer greetings, hope is not buried.’

 

My thanks to Robin Connelly, Grażyna Fremi, Michał Kuźmiński, Basia Macmillan and Robert Macmillan for their help in sourcing and translating material on Herbert’s trip. As well as the books mentioned above, online there is, in Polish, a useful article from 2007 by Piotr Toczynski about Herbert and Iona, and a recording of Herbert talking about Scotland (scroll down to the heading ‘Szkocja’).

Gleann Badraig

Earlier this year I wrote a sequence of poems about the Isle of Jura, for a book by the photographer Charles March. Charles contacted me out of the blue, thanks in part, I think, to a poem I’d written many years before about the island.

I visited Jura at the start of February, and was taken by boat to Glenbatrick on the west coast, where Charles had taken his photographs over the previous four or five years. Above the beach, and the rugged coastline either side of it, are a number of raised beaches, created by the land gradually rising after the glaciers melted. Looking inland, the Paps of Jura dominate the skyline – Beinn na Oir, Beinn Siantidh and Beinn Chaolias.

In May and June, Charles’ photographs were featured in an exhibition at the Palazzo Borghese in Rome, where a sample copy of the book was on display.

I received copies of the book just this week – I’d forgotten how large it was. The images are beautifully reproduced, catching the shifting and subtle colours of the Hebrides.

Gleann Badraig is published by Distanz Verlag, Berlin.
390 × 275 mm
96 pages, 60 color images, hardcover with linen
ISBN 978-3-95476-248-4
June 2018
€58.00

I have a few copies for sale – contact me if you’re interested in buying a copy.

Heroines from Abroad

HfA front hires   HfA back

Heroines from Abroad, newly published by Carcanet, is a bilingual (German / English) edition of poems by Christine Marendon, alongside my translations.

Heroines-from-abroad

Christine will be in Scotland this summer, and we are launching the book on 13 July at 8pm at Lighthouse in Edinburgh.

I discovered Christine’s poems via a mutual friend, the poet Arne Rautenberg. Christine had been invited to a festival in Slovenia, and needed English versions of six poems – could I make the translations? I enjoyed their enigmatic imagery and shifts in tone, and made the translations, helped by a correspondence with her.

Several years elapsed, when I always had in the back of my mind that I’d like to return to her work. I came across poems online, and have been translating her slowly but steadily since 2011; translations have appeared in Shearsman, Modern Poetry in Translation, New Books in German, and online at www.no-mans-land.org.

We met for the first time in March 2014, in Hamburg where she lives; shortly afterwards we were invited to read together in London by Sasha Dugdale, then the editor of Modern Poetry in Translation, and it was a pleasure to hear her measured reading voice.

From Bavaria, she grew up speaking both German and Italian, and only began writing in her poetry in her thirties, after attending a reading by the poet Hilde Domin (1909–2006). In Germany her work is published online, and in magazines and anthologies, but she still awaits a first collection. As a translator, she has made German versions of poems by James Wright.

Marendon’s work may bridge for English-language readers the perceived chasm between avant-garde and mainstream poetry. It’s not obscure, it’s not banally ‘accessible’. The voice and the language of Cockburn’s translations feel freshly rinsed.’ Carol Rumens

New from The Caseroom Press

The Caseroom Press recently published two books which I had a hand in.

O | O 3: Word Disco is the third in an unintended trilogy of found poems, and follows Overheard Overlooked (2011) and Overlooked Overheard (2015). Visually it departs from the previous books, with the texts being typeset, distorted on photocopiers and then edited and composed in Photoshop. Barrie Tullett again designed it, and as with Overlooked Overheard his students at the University of Lincoln found the poems it contains. It’s available via The Caseroom Press website.

Woodland Orienteering presents six six-letter word-pairs composed in 2011 for an orienteering circuit in Dufftown, Moray, but never used (a seventh word-pair was, and remains in situ). If you’d like to buy a copy please contact me directly.

DSCF3484DSCF3487

 

DSCF3496DSCF3500

 

Floating the Woods

Floating the Woods 02

Last week I had my first sighting of Floating the Woods, a new collection of poems published by and available from Luath Press, and launched on Thursday 29 March at the Scottish Poetry Library.

The cover blurb reads, “the places in Floating the Woods are mainly Scottish, stretching from the Borders to Orkney, taking in Edinburgh, the Tay estuary and the River Ness. Through these landscapes move figures from the past – real, legendary and imagined – as the routes of Romans, Vikings and Celtic saints are followed by later figures such as Wordsworth, James Hogg and John Muir. Further afield the First World War casts a long, dark shadow over otherwise idyllic English and Belgian scenes. There are alphabet, calendar, list and found poems, dealing with imaginary shades of blue and the imponderables of etiquette.”

Floating the Woods 03

I am grateful to Jen Webb, editor of the Australian journal Meniscus, for her text which also appears on the cover. “List the things that matter, and what is likely to appear are stories, and buildings, the birds that fly between them, the hills and streams and skies that surround them, the ordinary stuff of everyday life lived alongside the felt presence of ancient recent history. Ken Cockburn’s new collection captures all this, in the lyrical lists, shape poems and sound poems filled with sharp yet tender observations of the world through which he moves. In a gloriously demotic voice that remains deeply immersed in the long traditions of poetry, he paints space, and place; and in his hands, language finds a mouth.”

Cockburn FtW 2018 2

Kakimori Bunko

The exhibition Wordsworth and Basho : Walking Poets was shown at Kakimori Bunko, Osaka, Japan last autumn.

I contributed a sequence of seven short poems, taking as my starting point Wordsworth’s ‘The Solitary Reaper’. They were presented as prints, and as a booklet in the display case.

The photographs on the wall are by Tomohiko Ogawa, and show postcards of Scotland ‘matched’ with landscapes in Japan. Tomohiko also took these exhibition photographs.

Some of Alec Finlay’s word-mountains were also shown. There is a fine, informative catalogue; below is a page with Tomohiko’s photographs, including one we used on the cover of The Road North (middle left; on the book cover it’s reversed), and a page with background to my take on ‘The Solitary Reaper’.

Silence before Speech

sbs-bog-cotton-jm  sbs-im-neil-christie  sbs-time-and-tide-kc
Silence before Speech is a new publication in memory of Neil Christie, a friend who died on Christmas eve three years ago. It’s a boxed set of 16 poem-cards, each featuring a poem by myself or Jane MacKie, and a painting by Dina Campbell. The portfolio was designed by Mary Asiedu.

sbs-barra-kc

We all knew Neil; he had a gift for friendship, and for bringing people together. One of his favourite tricks was to arrange a meeting to which he invited people from different parts of his life, and then cry off at the last moment, leaving us to get to know each other.

sbs-coast-jm

He worked as a graphic designer, and occasional publisher; Reading the Streets was made for his Duende Press, when he linked myself and illustrator Libby Walker. Latterly he lived down by the river at Cramond, and I’ve fond memories of eating fish soup in his small cottage there, packed with books and CDs, before emerging for a riverside stroll.

sbs-winter-solstice-kc

Jane and I both wrote to Dina’s images, and their titles. My poems all came out as unpunctuated six-liners; Jane allowed herself more scope, in length and stanza form.

The cards measure 195 x 94 mm. A set costs £15 – please contact me if you’d like to buy a set.