Gavin Selerie: a preview

 

Gavin Selerie will perform at the next Other Room on Wednesday, 5th February. 7 PM start, free entry. The other readers are Frances Presley and Chris Stephenson, with preview of both to follow in the next few weeks. For a flavour of Gavin’s work, watch this clip of his reading at Xing the Line in July 2012, browse his page at Archive of the Now, or his author page at Shearsman.

Bio.

Gavin Selerie was born in London, where he still lives. He taught at Birkbeck, University of London for many years. His books include Azimuth (1984), Roxy (1996) and Le Fanu’s Ghost (2006)—all long sequences with linked units. Music’s Duel: New and Selected Poems 1972-2008 was published by Shearsman in 2009. This includes a good deal of fugitive material, besides more widely available work. Selerie has collaborated with the writer and artist Alan Halsey, notably in the book Days of ’49 (1999). His work has appeared in anthologies such as The New British Poetry (1988), Other: British & Irish Poetry since 1970 (1999) and The Reality Street Book of Sonnets (2008). His poems generally involve a layering of voices through history and landscape. He has written extensively about London, reflecting his roots (an Italian family in Soho and an English family of wood-carvers). He has been a core member of the London poetry scene since the 1970s. There is frequently a concrete dimension to his work and he was featured in the recent Visual Poetics exhibition at the Poetry Library, London. Selerie is currently working on a large project, Hariot Double, which juxtaposes renaissance and modern elements. He sometimes performs with musicians, and this work-in-progress deals partly with the British jazz scene.

 

Reality Street Live

Wednesday, 19 February 2014, 19:30 until 22:00. Electric Palace, 39a High Street, Hastings, East Sussex, TN34 3ER.

Philip Terry – A reading by the author of tapestry, an extraordinary novel retelling the story of the Norman Conquest from the point of view of the Bayeux Tapestry’s English embroiderers. Tapestry was shortlisted for the inaugural 2013 Goldsmiths Prize for fiction.

Ken Edwards – The publisher of Reality Street reads from his collection of fictions Down With Beauty and from Bardo, a reimagining of the Tibetan Book of the Dead set in Hastings.

Elaine Edwards – Co-founder with Ken Edwards of local band The Moors, Elaine will perform on flute and accordion.

Enemies reviewed

“This is a compilation of some of the collaborations which Fowler has undertaken with over 150 artists, writers, sculptors and musicians in a project funded by the Arts Council and the Jerwood Foundation. The scale of the work has been enormous and is a testament to Fowler’s commitment as a kind of impresario of the avant-garde (or vanguard, as he prefers to call it): alongside this anthology, numerous discreet publications have emerged with small presses.”

Read the complete review of SJ Fowler’s book of collaborations at Sabotage.

The Dark Would film

Curator and poet Philip Davenport introduces ‘The Dark Would’, featuring work from world-leading poets and text artists exploring the maze of living and dying. A variety of works from contributors such as Jenny Holzer, Richard Long, Susan Hiller, Tom Phillips, Simon Patterson, Mike Chavez-Dawson, Tony Lopez, Richard Wentworth, Caroline Bergvall, Lawrence Weiner, Fiona Banner and many others, including outsider artists.

Beyond the Cut-up: William S. Burroughs and the Image

This conference Beyond the Cut-up: William S. Burroughs and the Image will explore new theoretical interventions and accounts of Burroughs’s ideas of the image, its effects and modes of operation, its impact on human consciousness, its complex embedding within textual and other fields, its psychological and ideological transformations of perception.

William S. Burroughs’s complex and provocative uses of the image challenge critical and theoretical orthodoxies. His works in writing, visual arts, cut-up and collage, painting, assemblage, photography, and in sonic arts, constantly return in multiple ways to a detailed and politically urgent enquiry into the nature and effects of the image, the word-as-image, and beyond.

Critical work on Burroughs’s art has hitherto focused mainly on his uses of cut-up techniques. However, his works offer very diverse responses to the multiple political and emotional functions of images in relation to modern and postmodern societies of control, and enable explorations of the status and potentials of the artist as agent within these contexts. These themes are insistent Burroughsian concerns.

At The Photographers’ Gallery, 16 – 18 Ramillies St, London W1F 7LW.