New Hix Eros review

Hix Eros: Poetry Review is published jointly by Sad Press and Hi Zero.

The latest issue is #8, published in March 2018, covering work by Sean Bonney, Lisa Robertson, Linda Kemp, Lila Matsumoto, Jennifer Pike Cobbing, Mike Saunders, Holly Pester et al., Sarah Hayden, Nicky Melville, Sophie Mayer, Calum Gardner, Juha Virtanen, Jèssica Pujol, Millie Guille, Sophie Seita, Caitlín Doherty, Corina Copp, Eleanor Perry, Daisy Lafarge, Vala Thorrods, JH Prynne, Colin Herd, and Peter Manson.


Praxis 7

With performances by Sophie Seita with Erin Robinsong and Iris Colomb
Friday 7 July, 7pm. £5 suggested donation. Parasol unit foundation for contemporary art, 14 Wharf Road, London, N1 7RW. Full details here.

PRAXIS is an innovative live poetry series that seeks to bring experimental, digital, sound and visual poetry to the Parasol unit foundation for contemporary art. This series of events is curated by Simon Pomery in association with the Royal Holloway Poetics Research Centre.

Guest Poets and Artists

Sophie Seita works with language on the page, in performance, translation, and through research. She’s based in Cambridge, UK, and New York.

Erin Robinsong is a poet, choreographer and author of Rag Cosmology based in Montréal.

Iris Colomb is based in London where she has given both individual, collaborative and interactive performances at a range of events as well as producing poetic responses to fine art exhibitions.

Simon Pomery is a text-sound artist and Blood Music maker researching a PhD in innovative poetry and ethics at Royal Holloway.

Jocelyn Spaar + Kayo Chingonyi


May 1st, 7.30—9pm, Judith E. Wilson Drama Studio (basement of the English Faculty building), 9 West Road, Cambridge, CB3 9DP
Hosted by Sophie Seita
Everyone welcome!

Jocelyn Spaar is a poet, translator, artist, and curator living and working in New York. Her poems, drawings, and translations have appeared in Bridge, Gigantic, The Magazine of the Artist’s Institute, The Paper Nautilus, The Paris Review Daily, Stonecutter, Storychord, Vice, and elsewhere. She has translated work for Archipelago Books and New Directions, and, with Kit Schluter, translated Amandine André’s Circle of Dogs, which she also illustrated (Solar Luxuriance, 2015). She is the illustrator of Cream by Cecilia Corrigan (Capricious, 2016) and has exhibited her drawings, films, and text-based installations at the 2ANNAS film festival, Apt. 302, The Bridge PAI, Knockdown Center, NOoSPHERE Arts, Printed Matter’s NY Art Book Fair, and Ugly Duck. She most recently curated the exhibition Elective Affinities: A Library at the Hunter College Art Galleries.

Kayo Chingonyi was born in Zambia in 1987, and moved to the UK at the age of six. He is the author of two pamphlets, Some Bright Elegance (Salt, 2012) and The Colour of James Brown’s Scream (Akashic, 2016). His first full-length collection, Kumukanda, will be published in June 2017 with Chatto & Windus. In 2012 he represented Zambia at Poetry Parnassus, a festival of world poets staged by The Southbank Centre as part of the London 2012 Festival. He was awarded the Geoffrey Dearmer Prize and shortlisted for the inaugural Brunel University African Poetry Prize and has completed residencies with Kingston University, Cove Park, First Story, The Nuffield Council on Bioethics, and Royal Holloway University of London. He was Associate Poet at the Institute of Contemporary Arts (ICA) from Autumn 2015 to Spring 2016, and has curated events for Stirling University, The Southbank Centre, Hackney Council, The Freeword Centre, among others.

Reading: Andrea Brady, Robert Hampson, Sophie Seita


25th May, 19:00–21:00. 11 Bedford Square, London, WC1B 3RF.

Royal Holloway Poetics Research Centre and Kent Centre for Modern Poetry present readings by:

Andrea Brady, Robert Hampson, Sophie Seita


Andrea Brady’s books of poetry include Vacation of a Lifetime (Salt, 2001), Wildfire: A Verse Essay on Obscurity and Illumination (Krupskaya, 2010), Mutability: scripts for infancy (Seagull, 2012), Cut from the Rushes (Reality Street, 2013), Dompteuse (Bookthug, 2014) and (Crater, 2016). She is Professor of Poetry at Queen Mary University of London, where she runs the Centre for Poetry and curates the Globe Road Poetry festival. Andrea is director of the Archive of the Now (, the UK’s largest digital archive of performances by experimental poets. With Keston Sutherland she is co-publisher of Barque Press (

Robert Hampson has had a long-term involvement with contempory innovative poetry as editor, critic and practitioner. He co-edited the magazine Alembic during the 1970s, and he and Peter Barry co-edited the pioneering collection of essays The New British poetries: The scope of the posible (Manchester University press, 1993). He co-edited Frank O’Hara Now (Liverpool University Press, 2010) with Will Montgomery and Clasp: late modernist poetry in London in the 1970s (Shearsman, 2016) with Ken Edwards. His own most recent poetry publications include Assembled Fugitives: Selected Poems 1973-1998 (Stride, 2000), Seaport (Shearsman, 2008), an explanation of colours (Veer, 2010), and sonnets 4 sophie (pushtika, 2015). Reworked Disasters (Knivesforksand spoons, 2013) was long-listed for the Forward Prize. He collaborated (with Robert Sheppard) on Liverpool (hugs &) kisses (2015).

Sophie Seita works with language on the page, in performance, and in translation. She has presented her work at the Serpentine Gallery (London), La MaMa Galleria (NYC), Company Gallery (NYC), SoundEye (Cork, Ireland), Neue Töne Festival (Stuttgart, Germany), Goethe-Institut New York, and elsewhere. Her publications include Les Bijoux Indiscrets, or, Paper Tigers (Gauss PDF, 2017), Meat (Little Red Leaves, 2015), Fantasias in Counting(BlazeVOX, 2014), 12 Steps (Wide Range, 2012), and i mean i dislike that fate that i was made to where, a translation of the German poet Uljana Wolf (Wonder, 2015). The recipient of various awards and fellowships for her creative and critical work, she also received a PEN/Heim Grant (2015) for her forthcoming translation of Wolf’s Subsisters: Selected Poems (Belladonna*, 2017). She is a Junior Research Fellow at Queens’ College, Cambridge, where she’s currently editing a facsimile reprint of The Blind Man (Ugly Duckling Presse, 2017) and finishing her first monograph on avant-garde little magazine communities.