Midamble by Peter Jaeger out now from if p then q

Peter Jaeger’s stunning new book, Midamble, is out  priced at the snip of £12.

420 pp
to purchase and sample pages

About the book
Midamble is a long poem that concerns Peter Jaeger’s interest in walking practice; in particular his travels on a variety of pilgrimage routes. A prose poem, it comprises two bands of text: the top level is a list of walking experiences whilst the bottom re-appropriates materials from comparative religion texts. Midamble is a poem that is clearer than crystal, and possesses a musical quality that is comparable to seminal and contemporary minimalist music.

The poem also has a life in durational performance. When read live Midamble demonstrates its consistency as well as its diversity. In such performances listeners are invited into a collective experience in which they can engage with ideas for as little as a moment or as long as several hours. Indeed, perhaps its most enduring feature is its quality of having no fixed entry or exit point.

About the author
Peter Jaeger is a Canadian poet, literary critic and text-based artist now living in the UK. His recent publications include John Cage and Buddhist Ecopoetics (Bloomsbury 2013) and 5404 (University of London Veer Press 2014). He has also published A Field Guide to Lost Things with if p then q. Jaeger is Professor of Poetics at Roehampton University in London.



For Mendoza by Peter Jaeger

A celebration of Tommy Peeps/Linus Slug/ all things Mendoza with contributions by Sarah Crewe, Amy Evans, Catherine Hales, Edmund Hardy, Ben Hickman, Jeff Hilson, Peter Jaeger, Tom Jenks, Antony John, Dorothy Lehane, Chris Mccabe, Fabian Macpherson, Peter Manson, Camilla Nelson, Pascal O’Loughlin, Maggie O’Sullivan, Richard Parker, Kat Peddie, Nat Raha, Scott Thurston, Rhys Trimble and James Wilkes. More here.

Total Recall exhibition at Bury Art Gallery


TOTAL RECALL 1 August — 3 October, 2015 


Moss St, Bury, Lancashire BL9 0DR, United Kingdom

How do you remember the people who are important to you? How do you conjure your shared past? Is it in an image, a sound, a smell, a touch? Or do you use words?

We invited world-leading poets and text-artists to make a language-memory for Tony Trehy, who has directed the internationally renowned Text Festival at Bury Art Museum since 2005. This exhibition celebrates a 10-year anniversary of the Festival and a 20-year anniversary of Tony’s time at Bury. Writing on a wall, an Internet search, a diary entry, a flurry of thoughts … what is remembering and who is it for?

Tony Trehy has been the ring-leader of decade-long conversations, new opportunities, challenges and heated debates. Each of his four Text Festivals has added to a continuing dialogue between language and art. Every Text Festival has asked the audience a simple-but-complex question: How do I read?

Into the historic space of Bury Art Museum, Trehy has injected text that is a new ‘language art’ for the 21st Century. Bury was once the centre of paper-making in Britain, now it is a pioneer of language-making, with its Text Archive welcoming readers from all over the world.

TOTAL RECALL is a guerrilla makeover, an A4 invasion of reading into the larger narrative of looking. Unlike the street signs outside, these are not corporate instructions or sales pitches; they are antidotes. Walls, vitrine, archival box—nary a “book” to be found, but a heap of language left in memory.

TOTAL RECALL includes work by local, national and international text-based artists and poets: angela rawlings, Alan Halsey, Barrie Tullett, Carolyn Thompson, Cecilie Bjørgås Jordheim, Darren Marsh, derek beaulieu, Emma Cocker, Eric Zboya, Erica Baum, Jaap Blonk, James Davies, Jayne Dyer, Jesse Glass, Karri Kokko, Kristen Mueller, Lawrence Weiner, Leanne Bridgewater, Liz Collini, Lucy Harvest Clarke, Marco Giovenale, Márton Koppány, Matt Dalby, Mike Chavez-Dawson, Paula Claire, Penny Anderson, Peter Jaeger, Philip Davenport, Rachel Defay-Liautard, Robert Grenier, Ron Silliman, Satu Kaikkonen, Sarah Sanders, Seekers of Lice, Stephen Emmerson, Steve Giasson, Steve Miller, Tom Jenks, and Tony Lopez.

— derek beaulieu and Phil Davenport, Curators

Peter Jaeger – A Field Guide to Lost Things


A Field Guide to Lost Things reconfigures every single image of a natural object in CKS Moncrieff’s 1922 English translation of Marcel Proust’s Swann’s Way—the first three novels of In Search of Lost Time. The guide includes images of nature encountered by Proust’s characters in rural landscapes, cities, towns and parks, as well as in the bodies of other characters.

Out Now from if p then q priced at £7

Cardiff Poetry Experiment

Cardiff Poetry Experiment

Samantha Walton
D. E. Oprava
Peter Jaeger

Doors open at 7pm, readings promptly at 7:30pm
Free admission, with discussions. Refreshments, cake available at the Teahouse.

Waterloo Teahouse
Wyndham Arcade,
Cardiff City Centre, 
CF10 1FH
(enter opposite Central Library) 

Samantha Walton is the author of three chapbooks, most recently Amaranth, Unstitched (Punch Press, 2013) and the forthcoming Animal Pomes from Crater Press. She’s read at events including the UEA Poetry Festival, Surrey Poetry Festival, Lit Live at Goldsmiths and as part of Enemies collaborations in London, Edinburgh and Wales. In 2015 Samantha will be Poet in Residence at the SoundEye Festival of the Arts of the Word in Cork, Ireland. Tweets @samlwalton

D.E. Oprava is an American-born writer who has lived in Wales for almost two decades. He has published six collections of poetry, the latest of which, The Last Museum of Laughter, was highly commended by the 2014 Forward Prizes for Poetry and he recently won the 2015 London Book Fair Poetry Prize for Haiku. He is a Lecturer in Creative Writing at Cardiff Metropolitan University and has work forthcoming from Red Hen Press and Pighog Press in 2016. 

Peter Jaeger is a Canadian text-based artist, poet, and literary critic now living in London. He is the author of eleven books, and his most recent publications include John Cage and Buddhist Ecopoetics (Bloomsbury 2013), 540493390 (Veer Press 2014), and A Field Guide to Lost Things (forthcoming this year from If P then Q Press). Jaeger is Professor of Poetics at Roehampton University in London.

Cardiff Poetry Experiment is supported by Cardiff University’s School of English, Communication and Philosophy.

Veer Reading & Launch

Reading, and double launch: Peter Jaeger, Steve McCaffery, Karen Mac Cormack.

Wednesday 12th November 2014, 7.45 pm

Room 153, Malet Street Main Building, Birkbeck College, Torrington Square, London WC1E 7HX.

All welcome – free entry.

Featuring the launch of Peter Jaeger’s 540493390 (research) and Steve McCaffery’s TATTERDAMALION (both new from Veer).


Registration is now open for RHUL Practice-based Research Conference MOTIF: 2014
MOTIF: 2014 is a day conference on Saturday, 15 November 2014 from 10am at the Centre for Creative Collaboration, London, focused around the theme of motif and its role within creative and critical practice.
The conference will provide a space for creative dialogue between practitioners and academic researchers through a programme of talks, performances, workshops and keynote speakers: Jerome Fletcher, Peter Jaeger, Fiona Templeton and Nick Thurston.
Tickets are £30 general and £20 concessions. To book please visit: MOTIF 2014

Peter Jaeger: Martyrologies

Martyrologies opens this Friday at 12.30pm, Centre for Gender, Sexuality and Writing, School of English, University of Kent, Canterbury. Closing time: 6.30pm Saturday 10th May. Admission: free. The installation will run for the duration of the Fear and Loathing: Phobia in Literature and Culture conference, but you do not have to be a delegate to attend.

What do modernist and contemporary traditions of found poetry and conceptual wri ting have to do with Christian history? The sound installation Martyrologies borrows and recontextualizes sentences drawn from Bede, John Foxe, Thieleman van Braght, and other Christian accounts of martyrdom, in order to underline the paradoxical inscription of subjectivity found in these early texts.

Each sentence in the poem was selected specifically because it represents a martyr’s death, and the surrounding story of events leading up to that death has been omitted. Martyrs gain identity precisely at the moment of their own demise 3B in effect, their death is the event which gives them historical subjectivity.

The text’s montage of found sentences defamiliarizes its source material, thereby interrogating connections between narrative and religious identity, and reworking traditional accounts of European religious history. An earlier version of Martyrologies was published in Jaeger’s Eckhart Cars (Salt 2004). This event is organised by Amy Evans as part of the Fear and Loathing: Phobia in Literature conference in the Centre for Gender, Sexuality and Writing at the University of Kent, 9th-10th May 2014.

Their eyes travel across the pages and their hearts search out meaning

Saturday 26th April at 18:00–19:30. Goldsmiths’ Reading Room, Senate House Library, Russell Square, London, WC1E 7HU

Join Eros Press for an evening of readings and performances at Senate House Library, in association with Domobaal Gallery and The Jarman Film Lab.

Neil Chapman | Peter Jaeger | Rebecca La Marre | Tamarin Norwood | Holly Pester

Convened by Sami Jalili and Sharon Kivland, with Mura Ghosh.

£10 | Ticket price includes a limited edition publication produced for the event. To purchase, please visit: http://erosjournal.co.uk/product/senate-house-event

Withdrawn, intent, deaf and blind to the world, readers commune in silence. They scan and internalise, mouths made defunct in the passage of knowledge, and yet it was not always thus. Saint Augustine marvelled at the way Saint Ambrose read: ‘His eyes travelled across the pages and his heart searched out the meaning, but his voice and tongue stayed still.’ There is a certain amount of argument surrounding the exact moment in antiquity that the text became ingested in silence. Alberto Manguel, among others, suggests that this ‘silent perusal of the page’ was not commonplace until the tenth century. Did we lose something else, along with the innocence of our reading habits? In putting our ears away, as Nietzsche
would have it, did we too lose our voice – ‘all the crescendos, inflections, variations of tone and changes of tempo in which the ancient public world took pleasure’?
Silence is the law of the library, even in a place of such theatrical potential as the Goldsmiths’ Reading Room. In the wings though, in the private monastic spaces of its study carrels, where a reader’s lips can flutter away in a whisper, unheard, loud voices might muster. On the 26th of April, that potential will be realised, as six invited readers will make themselves heard in the silence of the public space. Emerging one by one from the privacy of their cells they will proclaim the meaning that their hearts have searched out.