Storm and Golden Sky

Born of a Liverpool taste for variety and drama, ‘Storm and Golden Sky’ offers literary high style from across the poetic landscape; experimental, lyric, performance and all that is in-between, and brings them, two at a time, hand by hand, into the city bounds for a reading series which revels in the intensities and complexities of our art.

Programmed by a collective of Liverpool-based poets, Michael Egan, Nathan Jones, Robert Sheppard and Eleanor Rees, we aim for a literary experience felt in your bones as juxtaposition and surprise correspondence. New metaphors will be forged, similarities caught, trajectories flown.

Invited poets will read for substantial half-hour sets introduced by new works from the collective. Entrance includes a copy of the magazine ‘Veil the Pole’ edited by Michael Egan, featuring the invited poets and many others.

Last Friday of the Month (apart from occasional variation), Upstairs at the Caledonia pub, Catharine Street, in the Georgian Quarter, Liverpool, £5, 7 pm spot-on start!

28th Feb, Melissa Lee-Houghton and Crispin Best

21st March, Lee Harwood and tbc

25th April, Zoe Skoulding and Keston Sutherland

Future dates: May 30th, June 27th, July 25th and onwards!

Mudflats

Fri, 22 Mar 2013 7.00 PM – 8.30 PM Tickets: £5/£3

Part of Northern Elements, which develops spoken word in the North of England through commissions of new, imaginative and high quality spoken word material, the Bluecoat is working with independent promoter Michael Egan to present performances celebrating lost stories and forgotten voices. Chris McCabe’s commission Mudflats explores where history, language and memory meet across generations for one Liverpool family, played out against the backdrop of an ever changing city and the river that flows through all their lives. Programme also includes Dinesh Allirajah, James Byrne, Andrew McMillan and Rebecca Sharp.

More here.

Robert Sheppard on René Van Valckenborch

The ‘whole’ oeuvre of René Van Valckenborch is surrounded by mystery, perhaps of his own making. Published in fugitive publications in places as far apart as Cape Town and Montreal over the last decade, the poems of this Belgian are composed in Flemish and Walloon, and the stylistic divide between the two sets seems to reflect the societal linguistic divide of his troubled nation (although he never refers to this fact). These poems are translations from the Walloon of his ‘versions’ of Ovid, both from the unfashionable Tristia and the apocryphal ‘new’ Amores. 

More at Holdfire Press.

Sudo Poetry

From Michael Egan:

Dear Poets,

I am inviting you all to take part in a poetic experiment. If you don’t like experiments then stop reading now. I am putting together a blog called Sudo Poetry.  This is a new poetic form and I hope to use the blog to present ‘sudo’ (as in judo) poems – purely the poems, no social commentary or critical chit chat. 

The first rule of Sudo poetry is that poets use pseudonyms.  Obviously when poems are submitted a note will be made and stored of the poet’s true name alongside the ‘sudo’ name but only the ‘sudo’ name will be displayed on the blog.

You may at this point say, ‘nah, what’s the point’ and wander away.  That’s fine, I am merely inviting submissions and may get zero submissions whereby there will be no blog (maybe the few sudo poems I have written) and no ‘sudo’ poetry.

And so ‘sudo’ poetry requires rules for me to call it a poetic form.  Here are those rules which I hope you may be moved to try out:

Sudo poems are 7 lines long.
Lines 1, 2 and 3 consist of the following syllable count: 7/10/7.
The last syllables of line 1 and 2 rhyme.
That rhyme is loosely carried over into the first syllable of line 3.
These first 3 lines are called the ‘su’ and must have some reference to either an animal or a bodily function or a wildflower.

The second section of 4 lines is called the ‘do’ and each line has six syllables.  There is no rhyming structure here but you can always impose one if you like.
The first syllable of the first 3 lines should begin with the same vowel.  So line 4,5 and 6 might each begin with an ‘a’ say or maybe an ‘e’.
The last syllable of lines 4, 5 and 6 should also end with the same consonant.  Each might stop with a t. Or even a v.
And for line 7.  The last line of the ‘do’.  This should be nothing to do with anything you’ve written about in the rest of the poem.  If the poem is about the world cup then make the last line about Harald Hardrada.  The vowel and consonant rules do not apply here.

And by following these rules you should have written a sudo. 
I will use the blog as a tool to express only Sudo poetry and as I said, I would like poets to write under pseudonyms…sudonyms…sudo-nyms. Hammer that point in.

This is a purely poetic experiment but may become an academic one.  I would also ask if anyone is bored enough to write a sudo poem and submit one, might they then pass the email on to other poets they know.  It would be good to do this for say a year and see how many sudo poems I can get on the blog. 

Here is an example of a sudo poem I have written.


daschund of our separation

when last I saw that daschund

our night was paid for by the christmas fund

round after round of schnapps downed

it slept right through our songs

ignorant of our sins

inebriated bliss

how quickly maize crops fail.

Yours sincerely

Michael Egan….I will be presenting poems on the blog as Ian McMichael.

Also can all submissions be sent to      sudopoetry@yahoo.co.uk