The film-poem genre has attracted considerable interest from various disciplines, and is beginning to gain astute critical insight as an emerging artistic form.
One excellent vehicle is the German-based Poetryfilmkanal website. I was delighted to be asked to write an essay for them about the fascination of the film-poem. The relationship between art and memory has always fascinated me personally, and in this piece I regard memory as a kind of aesthetic glue holding the two genres in relationship to one another.
On Friday, I attended a small private London launch for the second edition of a book by my friend and former boss, David Allen. His methodology has been the key to creating the space in my life for poetry amidst a dynamic career in technology and management consulting, and a generally full trans-Atlantic life.
Having sold more than two million copies of his Getting Things Done book in nearly 30 languages, I jokingly asked over lunch for any tips on avoiding hand cramp when signing great numbers of books at once. Pre-orders for my debut full-length poetry collection The Knowledge have, after all, been rolling in.
That afternoon, I got the good news that books had arrived from the printer, and whizzed up to meet my publisher Jane in Milton Keynes, the preferred halfway point between where we both live. Despite the appearance of Milton in the name, I find Milton Keynes to be one of the least poetic cities in Britain — essentially England’s answer to Orange County. And so it was in a coffee chain store inside a glass-and-steel mall that I first laid hands on this beautiful book.
What can I say? It is a lovely object. Small but important details that I couldn’t have gleaned from the PDF galley — like the way in which facing-page poems interrelate thanks to expert pagination — surprised and impressed me. The entire experience of working with Jane has had a ring of rightness about it, and the finished product feels good in so many way, including tactilely — from the French flaps to the sturdy off-white pages to the matte-finish cover.
I am looking forward to my launch tour next week — Wenlock, Cheltenham, then New York. What a pleasure it will be to read from this lovingly-produced new book.
The book ships worldwide, at reasonable rates, at the end of April. It contains poems begun in my MFA in Writing programme as well as many written in response to the remarkable past four years living in and near London. Nine Arches Press won “Most Innovative Publisher” in the most recent voter-picked Saboteur Awards and working with them to bring this book to light has been an absolute pleasure.
Having already enhanced this ekphrastic poem with imagery, I decided that a film-poem seemed like an obvious next step. Visually, the film follows the poem’s concerns about different kinds of reality — personal, virtual, and historical — by playing with dimensionality.
I responded to a call from Virgil Kay, mastermind of this highly eclectic online journal, via Twitter. The wild assemblage of text in various languages and images from different eras reminded me of the collaged ‘zines of the ’90s brought into the digital age. I have never quite seen anything like it. So, I am delighted to have had four poems adopted here.