Miles Champion & Ian Heames at Xing the Line

Rare London reading for Miles Champion. Carcanet Press published his first book, Compositional Bonbons Placate, in 1996. His recent books include How to Laugh (Adventures in Poetry, 2014) and an illustrated interview with the English artist Trevor Winkfield, How I Became a Painter (Pressed Wafer, 2014). He also recently edited the late Ted Greenwald’s The Age of Reasons: Uncollected Poems 1969-1982 (Weslyan University Press, 2016). He lives with his wife and daughter in Brooklyn, New York.

Ian Heames is a poet and editor of Face Press publishing among others Nine Plays by Will Stuart (2014), J.H. Prynne’s Al-Dente (2014), Average Cabin by Tom Raworth (2015) as well as his own fantastic books of sonnets. He also edits c_c press which has published writing by Mike Wallace-Hadrill and Jefferson Toal as well as reprinting work by the late great film-maker Jeff Keen ie Urgent Film (2012) and The Artwar Reader (2012).

Thursday, July 21 at 7:30 PM
@ I’Klectik, Old Paradise Yard’ 20 Carlisle Lane, SE1 7LG London,


New from Critical Documents. £5/$11. 20 pages, 200 copies. Printed colour end-papers. 26 copies printed on a larger format.

Luke Roberts:
Gloss To Carriers is propelled by an internal logic of visor and helmet, tracking mutations on the horizon, ‘a picture of speed on the liquid corn’. The interface we see is heavily sedated warfare, her joysticks wild détourning, spinning through a set of invasive procedures, secret pingbacks between the Gloss and its Carriers. Every reader is also a bystander, totemic radar guilt lining our pockets: ‘goodbye immunity’. Can also be read as an operating-manual for the malfunctioning software of Recent British Poetry. Undetected viruses, get this and sleep in a new position.

Louis Jagger:
A vibrantly sexualised, obliquely emotionalised language of technology demonstrates the oppressions, disconnections, yearnings or compromises of an intelligent species mediated to by laser-wielding overlords and expected to swallow the dumbness of it whole. The poems are fragmented communications, garbled flight-logs of the things delivering death on imperial command, each marrying (or photon-fusing) an assortment of technical details into a concise and curiously unadorned vision of the organic and the intellectual reconstituted as mechanical will to power…This is a poem of protest and of sharp observation…Gloss To Carriers is a pulverising, all-consuming linguistic gun-battle from which nothing escapes.