Today I received copies of Silk Road Review Issue 10, containing a feature on British Poetry that I edited for the journal. It features a wide range (in terms of age, occupation, background, and geography) of poets whose work I have come to admire in the two years since I relocated to the UK.
From the introduction:
So what is “British” about these poems? First, there is a unique focus on language, its heft and chewiness. To some extent, all good poetry takes up this cause. But in Great Britain, one’s use of language is intimately tied to one’s place of origin. A phenomenal number of dialects, accents, and several distinct languages coexist in close geographic proximity. Place is therefore invoked the moment one opens one’s mouth. From Patience Agbabi’s cold fusion of hip-hop and Chaucer, to Liz Berry’s private defense of her father’s Black Country accent, to Andrew Philip’s Scots-language-infused quatrains — when it comes to place, language is as important as the soil (or concrete) under foot.
Furthermore, in a culture where two strangers can meet and converse for hours before finally (if ever) divulging their own names, deeply confessional poetry is eyed somewhat askance. Yet each poem can still be read as a precise autobiography of the poet’s innermost life. In lieu of the self, these poems are populated with eccentric characters, for the damp climate here seems as conducive to whimsy as it is to mushrooms. From shopkeepers to skeletons, “bear-solemn” organists to the figure of Pippi Longstocking cross-bred with Frankenstein’s monster, antic figures dramatise a panoply of selves.
You can order single copies or subscribe at the Silk Road website.