It's here! (or The Latest Instalment of "Did I mention it has my name on it?")

I was jealous that Rob Mackenzie had got his books yesterday, so I just had to get up early this morning and zip down to the postal depot to pick up my author copies of The Ambulance Box, which the postman had failed to leave in our designated "safe place" yesterday. I wasn't quite banging on the door begging to be let in, but I was there only a few minutes after they turned the key. Don't know whether the postal worker who handed the package over to me had any inkling of what it was, but she can't have failed to see my grin as broad as the Firth of Forth as I skipped out the building.

The photo shows our kitchen table, scissors and the books; it doesn't show the euphoria, as the subject was several centimetres in the air at the time. Seriously, though, it is a truly wonderful feeling. And a lovely book, if I do say so myself. Those dark green endpapers are just gorgeous! The cover looks every bit as good in real life as it does on a computer screen, if not better. Just to hold it in my hands sends me, honest it does.

Rob and I met up at lunchtime to swap books. His is every bit as fine, as you can see. It was a fitting way to celebrate, especially given that, as you'll read if you trawl through the virtual cupboard under the stair, we met up in the same cafe to swap the manuscripts of what became these collections about a year and a half ago. I don't think we could have anticipated that we'd end up with the same publisher, same publication date and a joint launch, but I'm absolutely delighted it has turned out that way.

Both books are available now from Salt's online shop. They can also be pre-ordered on Amazon.co.uk and will soon be available in all good bookshops.

Date Change at the Great Grog

If you've dropped by the Poetry at the Great Grog blog recently, you'll have seen that Julia Rampen and I have swapped slots, which means I'll now be reading on 14 June instead of in May. I'm thoroughly looking forward to reading with fellow Salt poet and literary blogger extraordinaire, Katy Evans-Bush, author of that rather fine collection, Me and the Dead; fellow former Shore Poet, Allan Crosbie, whose poetry I've long admired and ought to be better known; and Ivy Alvarez, whose work I must confess to still not knowing.

Do go along in May and hear Julia, along with Robert Crawford, Brian Johnsonte and Jennifer Williams -- another cracking line-up!

West Lothian Writes

The West Lothian Writes event at Bathgate's Regal Theatre a week past Friday was a really good evening, very ably compered by Ellie Stewart. There was a mix of poetry, prose and even film script (!), with several really good pieces of writing and several strong performances, as well as one or two that weren't perhaps exactly to my taste. Certainly, there was nobody there who seemed to be under the impression they were delivering a masterpiece when they weren't!

One set that particularly stood out for me was the children's poetry from John Wilkinson (not, I hasten to add, to be confused with the John Wilkinson published by Salt). He was very self-depricating about it being silly rhymes, but they were extremely well-written, vibrant, imaginative silly rhymes. Not at all easy to do well. There's no doubt the man's a real writer.

West Lothian Writers plans to run such events three or four times a year, and I'll certainly be going back to them.

Gone to Press!

A quick update on the progress of The Ambulance Box: the book went to press on Friday! I can tell you, that was an exciting moment. It was made even better by the fact that I shared it with Rob A Mackenzie, whose collection The Opposite of Cabbage was sent to press at the same time. And, as you can see from the link, Rob's book now has a webpage too.

Happy Birthday, Mr Burns

Technically, I've let the 250th anniversary of Robert Burns's birth pass without comment, but I could hardly let it pass without mention, even if a touch belated. I'm not going to regail you with an online immortal memory; I'll simply point you in the direction of one of my favourite pieces of Burns.

I love "A Poet's Welcome to His Love-Begotten Daughter" -- or, in its unbowdlerised title, "He Welcomes his Bastart Wean" -- for a number of reasons. First off, its mixter-maxter of swagger and sweet tenderness. So typically Burns. He can't resist thumbing his nose at convention even as he's expressing how fatherhood has bowled him over.

Secondly, it demonstrates the flexibility of the Standard Habbie (better known, but less accurately so, as the Burns stanza). It's tempting to think of that form as fit only for the satirical and comic poems that Burns so excelled in. After all, it's the stanza of "Holy Willie's Prayer" and "To a Haggis". But, in this poem, it proves itself equal to the task of containing and shaping the conjoined tenderness and bravado. And there's some great rhyming.

Thirdly, giving this as my favourite piece of Burns in a BBC Radio Scotland competition won me a copy of the Linn complete Burns songs recordings! A fantastic set of discs.

At the link above, there's a good reading of it, taken from the BBC's project to record, gradually, all Burns's poems and songs. I'd have wished John Gordon Sinclair to read "faither" instead of "father", but he hits the nail on the head when he uses the fricative in "unsought for", "fought for" and "unwrought for", rightly taking his lead from "dochter".

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Another Burns link, but less striclty Bardic: The Falkirk Antonine Friendship Link will be holding their 2nd Burns Supper on Fri Jan 30th at 7.30 pm, in the Christian Centre, Glebe St, Falkirk - with apropriate music and food. This year's speaker will be Gene Stolzfus, founder and Director Emeritus of Christian Peacemaker Teams. CPT maintain trained Violence Reduction Teams in several parts of the World, including the Hebron area and Iraq (where four of a delegation were held hostage two years ago, and Islamic Peacemakers were established). Gene had been asked to talk about "A Casestudy in Peacemaking: Iraq", but also to refer to Israel/Palestine - no doubt this will include Gaza. Admission by donation, all are welcome.

Upcoming Readings

Just a quick note on readings I'll be doing in the coming weeks and months.

This Friday, I'll be among those making their six-minute appearances at West Lothian Write! at the Regal Theatre in Bathgate, sometime between 7:00 and 9:30pm. It should be a good night, if the standard of the work and performances by the other West Lothian writers who came to the Linlithgow Book Festival open mike is anything to go by.

Rob A Mackenzie and I are reading at St Mungo's Mirrorball on Thursday 5 March. There'll be one other poet on the bill besides us. It might be Brian Whittingham, but that's yet to be confirmed last I heard. I'll give more information when it becomes available.

Rob and I will also be launching our respective collections on Wednesday 11 March at 7pm in the the Scottish Poetry Library. I'm also having a Linlithgow launch at the Black Bitch Tavern at 8pm on Saturday 28 March.

I'll be on the Golden Hour stage again on Wednesday 22 April. I'll let you know more about that when I have the details. Should be a really good night, though, if the October one is anything to go by.

Hadfield on Today

The Today programme's interview with Jen Hadfield is here, along with all the recordings they've done of the other shortlisted writers. Worth a listen. She sounds a touch tired. Good on her!

Seeing the shortlist again just emphasises how stunning a success this is for her. Not just for her, but for the younger poetry generation(s). Somehow having the faces there gives it all the more impact. There's almost something of a Dr Who moment to it, not only because Jen Hadfield is the youngest TS Eliot prizewinner ever, but because of how young she looks next to everyone else. (She's only three or so years younger than me, but somehow it feels like she younger still.)

There's certainly a sense of excitement around the UK poetry world -- or at least the corners I frequent, virtual and otherwise -- about this award. A sense of something genuinely fresh happening. Todd Swift says it's the next best thing to an Obama moment, which feels accurate, overblown and very slightly churlish all in one to me.

Here are some links to other bloggers' perspectives: Katy Evans-Bush, Rob Mackenzie, Matt Merritt (I'll add to this if and as I spot any more).

The Nearly No Has It!

Jings, as my dad might say, Jen Hadfield has won the TS Eliot! Andrew Motion describes her as "a remarkably original poet near the beginning of what is obviously going to be a distinguished career", an assessment with which I wouldn't quibble*. Nigh-No-Place is certainly an interesting, stimulating, rich book. The prize must be an enormous boost to Jen Hadfield, given the company of winners she now joins.

*Quibble is such a fine word, don't you think? Only, it sets me in mind of that scene from Blackadder Goes Forth in which our eponymous antihero prentends to be mad in an attempt to escape the trenches. Wubble! as much of my generation is wont to exclaim randomly.

Mick Imlah 1956-2009

Mick Imlah, whose second book of poems, The Lost Leader, won the 2008 Forward prize for best collection and is shortlisted for the TS Eliot prize, has died. He was only 52.

Timor mortis conturbat me.

Me, Themselves and I

Rob Mackenzie has blogged about using personas and characters in his poetry. One of the points he discusses is the degree to which a reader is likely to equate the I of a poem written in the first person with the writer. Anyone who writes in a persona -- anyone who writes, I suspect -- knows that the poem can go places and say things its writer doesn't necessarily think or agree with. One way round that is to use the second person, but I don't really like that. I've tried to explore the reasons for that dislike here.

Is it, I wonder, more common for people to equate the first person with the writer when they're reading poetry than when they're reading fiction? I have to say I was once guilty of making that lazy assumption more often than not, but that time is long gone! Certainly, anyone properly familiar with the techniques and approaches of contemporary poetry is unlikely to assume automatically that, just because a poem is written in the first person, it directly reflects the experiences and/or opinions of its writer.

Of course, the reverse is also true: just because a poem obviously employs a persona doesn't mean it is no reflection of the writer's life. "The Apple's Song" by Edwin Morgan strikes me as a good instance: it is very much like his love poetry in tone and language -- so much so that I want to say, "his other love poetry" -- but is written in the voice of an apple in a fruitbowl. I don't know whether Morgan felt that affinity as he wrote the poem, whether it was intentional or one of those wonderful creative accidents, but the connection is undeniable. And there are several reasons why that love-lyric impulse might have been pushed through the monologue form, consciously or (more likely) unconsciously.

As readers, we have to make the judgment writer by writer and poem by poem. But we also have a responsibility to take into account the rest of the writer's work, as far as we can know it. For writers, the problem is perhaps less to do with the use of the first person for a (semi-)fictional persona and more to do with the publishing of individual poems here and there in magazines and, perhaps, anthologies, divorced from the context of the rest of their work. That's one reason why the poetry collection is such a good thing.

(Did I mention Rob's collection is also coming out from Salt? 1 March: it's this year's day, people!)

"Did I mention it has my name on it" revisited

The jacket for The Ambulance Box has been revised, so I've replaced the photo in the post below with the new version. Also, the PDF sample is now available.

Children's Christmas Book Tree

Just seen this in an e-mail newsletter from Edinburgh International Book Festival. Looks like a great idea but, unfortunately, it finishes today!

Blackwell's Bookshop on South Bridge, Edinburgh, are working with City of Edinburgh Council, Edinburgh Women's Aid and Edinburgh Young Carers to help make Christmas a little better for disadvantaged local children. The Children's Christmas Book Tree scheme means that children who will be living in difficult circumstances at Christmas, who have caring responsibilities beyond their years or those who won't be at home for Christmas and will have few personal possessions, will each receive a book to treasure.

The children have each put their Christmas wishes for a book on a gift tag which is then hung on a Christmas tree in the store. All you need to do is choose a book which you think the child will really appreciate, from dinosaurs to fairies, Jacqueline Wilson to James and the Giant Peach. Staff in the children's department will be more than happy to help with selections. You then pay for the chosen book and leave it with staff in store who will ensure that it gets wrapped, before being distributed to the right child for Christmas day.

If you are keen to donate a book, there's not much time left: the scheme finishes on 21 December. Those of you who can't make it to the store can ring Blackwell's on 0131 622 8222, ask to speak to the children's department, and donate a book over the phone.

Did I mention it has my name on it?

Things are moving on apace with The Ambulance Box, folks. No sooner had I dispatched my second proofs, than third proofs and a first cover design appeared in my inbox. (Okay, I confess to a slight exaggeration there. There was a time lag of a few days.)

The cover looks as fabulous as all those other Salt jackets I've drooled over in the past few years but it has my name on it!

This afternoon, the web page for the book went live. It has my face on it, courtsey of the marvellous marc marnie. You can also read descriptions of the collection there, along with a brief biographical note and enblurbments. There's a PDF sample and you can read a poem from the book and see the table of contents. I'm delighted with how it's all coming together. Publication date is 1 March 2009, as you know, so don't be deceived by the big BUY NOW! button. We go to press in the new year. Look out for further updates and details of readings here.

Did I mention I was excited?

By Pods We Live

Ryan Van Winkle, the Scottish Poetry Library's reader in residence, has just produced the first SPL podcast. Check it out here.

Messiaen's Birthday

I can't let today pass without noting that it would have been the 100th birthday of that great 20th century composer Olivier Messiaen, a favourite of mine. I've blogged before about what makes him so great for me, and my enthusiasm only deepens the more I hear his music.

Radio 3 is celebrating the centenary in suitable style: Messiaen was Composer of the Week last week (download the podcast here while you can) and his Quartet for the End of Time was the subject of Discovering Music on Sunday, but there is much more besides. And this after a summer and autumn already packed with Messiaen pieces! I'd be in heaven if I had the time and space to listen to them all.

Chestnuts

Katy Evans-Bush's virtual book tour has got off to a glowing winter start with a short but delightful interview at the North Meadow Media blog. I just had to write down the following and share it with you:

Word play opens up the language itself, like a pile of roasted chestnuts, for our delectation.

Isn't that lovely? So evocative. I'll never be able to pun again without thinking of that wonderful, warm, sweet aroma.

You can find the rest of the dates for Katy's tour here on Salt's new Cyclone sub-site. And don't forget that those of us far from the metropolitan mayhem of the south have an opportunity to catch her in person at the Great Grog in June 2009 reading from her collection Me and the Dead.

The Essay and Much More

It's a good season for poetry on Radio 3. The Essay last week was deeply under the influence: five contemporary poets each on a poet who influenced them. I'd recommend in particular Michael Symmons Roberts on David Jones; WN Herbert on Edwin Morgan (don't ask me what the picture of Eilean Donan castle is about!); and Menna Elfyn on T Gwynn Jones. But hurry up and listen before they fall off the end of the iPlayer, which starts happening tomorrow.

But that's just the canape in comparison to the cornucopia of programmes on and/or involving work by Milton up till the end of the year. His shorter poems are being dropped into Breakfast and Afternoon on 3. They started in earnest with the Sunday Feature tonight, to which I'm listening as I write this, and continue with the Essay this week.

A Conversation about Dreams

That ever-stylish blogger and Salt poet Katy Evans-Bush embarks tomorrow on a virtual book tour to promote her collection Me and the Dead. The tour, entitled "A Conversation About Dreams" will include feature interviews, pictures, audio, poems, jokes and a few serious moments -- everything you'd expect from an in-person book tour expect flesh-pressing signing sessions. The tour kicks off tomorrow at North Meadow blog. It should be well worth following Ms B's virtual progress, which I'm sure will also find its comment on Baroque in Hackney.

Salting the Ground

For any Facebook user interested in contemporary literary publishing -- especially writers who hope to be published -- Chris Hamilton-Emery's notes should be essential reading. They are a blog in the strictest sense, a log of daily ups and downs that gives a fascinating insight into the struggle of juggling family life and the heavy demands of running one of the most vibrant literary presses in the UK. Chris's openness about those demands and the precarious economics of the enterprise is impressive. Take this, from yesterday's note:

I thought I'd write a note on sales here, too. Each Salt title represents about £2,000 investment that's cost of sales and a share of the overhead. It means that every title has to do a lot of work to break even. Discounts vary from 20% to 60% dependent on the route to market (or sales channel) and the sales of individual volumes can vary hugely. Average first year sales are 200 copies. Some sell 1,000 copies, many sell around 150. Too many sell less than 50 copies. A few sell less than 5 copies. We need to sell around 310 copies to break even in the UK, 800 in Australia and 600 in the USA. That's before we make any money to pay for the next lot of books and to continue the publishing programme, never mind any capital we need for IT or new ventures. Making those sales is the toughest thing Jen and I have ever done.

Hard truth, isn't it? But it's best that we writers not be under any illusions about how hard everyone -- especially us -- has to work to make our books a success. And maybe it makes us think hard about what we define as success.

More impressive still is the quality and variety of the Salt poetry and fiction lists. Yes, yes, I would say that, but you don't have to take my word for it: check out the many links here to reviews of Salt titles in the broadsheets and elsewhere or the prizes for which Salt authors have been shortlisted and have won. Check out too what David Morley, for example, has to say here about Jane Holland's new collection Camper Van Blues and Isobel Dixon’s A Fold in the Map. An embarrassment of riches, I'm sure you'll agree, and a truly international one at that.

Most importantly of all, get yourself down to the Salt online shop (here for customers in the USA) and avail yourself of that fantastic pre-Christmas offer: 33% off all books. You all know how essential Salt is in a cold and icy winter like this one.

Dated and Prized

The Ambulance Box grows ever closer to becoming a reality. Chris at Salt and I have just settled on 1 March 2009 as the publication date. If that seems far away to you, as it does to some friends I talk to, it seems tantalisingly close to me!

Speaking of Salt, Will Stone's collection Glaciation won the Glen Dimplex New Writers poetry award 2008 the other week, while Rachel Blau Duplessis has been longlisted for the first Warwick Prize for Writing. The Warwick list is nothing if not varied. Congratulations to Chris, Jen, Will and Rachel!

Oh, and speaking of prizes, the shortlists for the Costa are out. No Salt titles on there, but it's a strong poetry list:

• For All We Know by Ciaran Carson (more)
• The Broken Word by Adam Foulds (more)
• Sunday at the Skin Launderette by Kathryn Simmonds (more)
• Salvation Jane by Greta Stoddart (more)

Ciaran Carson's is the only one I've read. Adam Foulds' book I've heard a lot about. Kathryn Simmonds won the Forward first collection prize this year, of course. And I know nothing about Great Stoddart's book (I couldn't even find it on the Anvil site when I looked the other day). I have to agree, of course, with Todd Swift about the glaring omissions ...

Bádhraic Ó Bamaigh go brágh!

You'll be humming it for weeks, especially around 20th January 2009.

Small is Beautiful!

That's got to have been the best wee festival in the world we had the weekend before last. What a cracker LBF 08 was! Fiona Hyslop, the Scottish Government education secretary and a Lithgae resident, launched the festival and christened our new participants autograph book. She stayed around for Christopher Brookmyre's sell-out event. There was such a fantastic buzz about the hall as the crowd piled in. Brookmyre, whom I'd never heard before, was an entertaining speaker and reader. There was a fantastic buzz as the crowd piled out too. We couldn't have got off to a better start.

The poetry workshop I ran occupied me for the first chunk of the Saturday. It went swimmingly, if I do say so myself. I had four participants, a comfortable number for discussion and reading round. They were a good group--gelled well, very ready to talk about the poems I used as models--and I was impressed with what they produced in the 20 or so minutes they had to write at the end. We chatted on afterwards for a good half hour, so I missed Timothy Neat on Hamish Henderson and the first Saturday event I sat in on was James Kelman's reading. First time I'd seen him too. I'd heard say he wasn't such a great speaker, but I was impressed. He read from Kieron Smith, Boy; I was struck how well he'd seemed to capture not only the language of the boy but the grammar of his thought processes and how he turned them to poetry without losing any authenticity. He was forceful and articulate too in what he said about Scotland, Scottish culture, Scots language and cultural amnesia.

After Kelman, I took a break, getting back to the festival in time to help out for Alex Gray's event. I didn't hear her, as I manned the front desk partly to keep an eye on any early arrivals for the open mike, but her reading seemed to go down well with the audience (which, incidentally, included Rob A Mackenzie).

The open mike was a triumph. We had a good mix of poetry and prose; a good mix of styles. Usually, such events are hit and miss, sometimes terribly hit and miss. This one was hit after hit: good performances all round and lots of strong writing. Rob read, as did Mandy Maxwell (who came all the way up from Newcastle). Mandy's "Michaelangelo Takes a Sickie" was a highlight of the evening. We also had Fiona Lindsay and Gavin Inglis from Edinburgh and a good local, West Lothian contingent: Grace Cleary, Ellie Stewart, Emma Mooney and a man whose name I've forgotten (sorry!). A handful of us ended up in Platform 3 pub for a bit afterwards-- right next to the band!--and I got home about midnight, I think.

Clear skies and sun helped bring the families out for the children's events on the Sunday. Catherine Rayner showed us some gorgeous original drawings and paintings for her books and shared with us the prototype of a new one, about a moose who couldn't fit in the book. Lynne McGeachie enthralled the audience with The Tail o Peter Kinnen, her fine Scots translation of The Tail of Peter Rabbit, drawing out the children's knowledge of Scots and building it subtly.

The festival ended with Alistair Findlay. Readers of this blog will know how highly I think of his The Love Songs of John Knox in particular, so it was a pleasure to introduce him to the shall we say select audience. It's a pity he didn't have a bigger crowd, because he's a superb reader and brought the festival to a close with virr, wit, intelligence and great fun. Still, he had a book-buying audience, which is always a bonus for the writer.

A huge thank you to everyone who participated in making it such a great weekend. See you in 2009!

Yes, They Did! (Could We?)

A truly remarkable day in the USA. A truly remarkable day for politics in the developed world full stop, surely. I found myself quite moved first thing this morning hearing President elect Obama's victory speech. And I was moved again this evening watching the scenes of celebration.

President elect Obama. Wow. Let's say that again: "President elect Obama". Even last year, who'd have thought we'd be witnessing the election of the first African American President of the United States? (Who'd even have dared to be certain Bush's successor would be a Democrat?) The adjective historic is overused but it most certainly fits here.

How long, I wonder, until the UK has its first black or Asian Prime Minister? We don't use phrases such as "British Asian" or "British Afro-Caribbean", do we really? Would the political classes contemplate a non-white leader for one of our major political parties at the moment? Would the electorate be willing to vote into power a party led by a non-white man or woman? That's not even going anywhere near the vexed questions of turnout and participation. There's no immediate prospect of finding out but, as the American election proved, politics can be full of surprises.

The News Agenda

Never mind Brand and Ross, this is the real entertainment news (and this is the really interesting bit).

A busy weekend ahead with this year's Linlithgow Book Festival kicking off on Friday. I'm particularly looking forward to the workshop I'm running and to Alistair Findlay's reading on Sunday. Alistair is one of Scotland's sharpest voices and a hugely entertaining reader. He's an unusually political writer for this era and can be a bitingly funny commentator on our culture and society. Not to be missed, I'd say.

Green and Gold

It's really been a week for new audiences. Wednesday morning was filled with meetings about a Scots language poetry project in Bo'ness Academy. They lasted longer than I anticipated and ended up running into the afternoon but some extremely useful and exciting stuff came out of them. The project gets going in earnest on Monday; I might say something about it over at The Skraich, time permitting.

In the evening, I scurried off to Edinburgh for the Golden Hour at the Forest. First time I'd ever been at it so I didn't quite know what to expect but I liked what I found. It was packed, for one thing. I haven't seen that many people, let alone that many people under 40, at a live literature and music event for some time. I've obviously been in the wrong place!

Anyway, I was first on, which was good because I was knackered, what with this week's travelling, meeting and being up late preparing for a busy family weekend ahead. But you can always count on the adrenalin to waken you up a bit. And the peppermint tea helped (I know, I live dangerously). Here's what I read:

1) The Invention of Zero
2) Coronach
3) Lullaby
4) 45 Minutes
5) Man With a Dove on His Head
6) The White Dot
7) The Melody At Night, With You
8) In Praise of Dust

It's the aftermath of a pile-up involving Monday's two sets but it worked well and the Golden Hour crowd liked it. I sold one pamphlet, which is respectable, especially as prospective purchasers would have had trouble locating me merging into the books in the corner (the only place near the stage I could find to perch when I arrived). And an audience member sent me a lovely message on Facebook Friday morning saying how much they'd enjoyed it.

Train timetables, tiredness and small children's getting-up times being what they are, I couldn't stick around for the whole night, but I managed to hear most of it. And I really liked what I heard: Beyond the Pale, a five-piece klezmer band; Asazi in a storming acoustic set; short story writer Tracey Emerson; and, of course, the Nite Fite cartoons. All ably compered by Ryan Van Winkle, better known to this blog as the Scottish Poetry Library's reader in residence.

Food and Ink

Got back on Saturday from a much-needed family break in Northumberland, then it was off to St Andrews on Monday for my Inklight reading, stopping off en route in Edinburgh for lunch with fellow HappenStance poet James Wood.

With a bit of time to kill between lunch and my train to Leuchars, I popped into the Scottish Poetry Library to do some final set building and have a quick read of James's "Song of Scotland", in the current issue of Poetry Review. I must go back to the poem. Seeing it on the page confirmed my impressions on hearing him read from it at the Mirrorball gig the other week. It's very strong, hugely entertaining and lays down a barbed challenge to a number of lazy attitudes and assumptions on both sides of the border.

St Andrews being a slightly awkward place to get to, I opted to stay overnight. The train, of course, ran somewhat late, so there was only just time to check in at the B&B before dashing round to The Grill House for a quick meal with Laila and Charlotte from the Inklight committee (£10.95 for two courses and a drink on their early evening menu; recommended) and from there to the venue.

The reading was in the North Hall of the All Saints Rectory (a Scottish Episcopal Church building I remember from previous StAnzas). An intimate room, shall we say, but all the better for that. The audience of about 20 people, mostly students, pretty much filled the seats. I really enjoyed reading to a mostly new audience, but it was great to have Brian Johnstone, Paula Jennings and Anna Crowe there too.

I read two sets, all but two of the poems coming from The Ambulance Box. The first set focused very much on the poems of loss and grief at the heart of the collection. And, following the convention Rob A Mackenzie began, here's the list:

1) The Invention of Zero
2) His Wading Light
3) A Voice is Heard in Ramah
4) Down Darkness Wide
5) Coronach
6) Saxifrage
7) Dream Family Holiday
8) 45 Minutes
9) Lullaby
10) Notes to Self

Hardly light, I confess, but the audience was attentive and very appreciative. It's always particularly pleasing to get good feedback from a set of those pieces.

The second half was shorter, less intense and more of a rag bag:

1) The Meisure o a Nation
2) Cardiac
3) Man with a Dove on His Head
4) The White Dot
5) Spanish Dancer
6) Improvisation for the Angel Who Announces the End of Time
7) The Melody at Night, With You
8) In Praise of Dust

This lot went down well too; laughs and chuckles in all the right places! I'd never read "The White Dot" before and was pleased how well it worked. Not only that, I sold six copies of the sampler pamphlet.

Unfortunately, there wasn't time for a question and answer session after the reading, but a handful of us sauntered to the pub after the Inlight committee had locked up. We had quite a good-going discussion about, among other things, Don Paterson's opinions on the connections between sound and meaning.

I had a great time, rounded off well the next morning by a hearty cooked breakfast and a chat with the other guest at the B&B, who turned out to be a regular StAnzagoer (and thanks for dropping by here already, Di).

Salt's Poetry Bank

This being national poetry day, it seems a good time to wave Salt's new poetry book club, The Poetry Bank, under your nose. If you like the look of the Salt lists, you'll like this:

From just £40 you can subscribe to Salt’s Poetry Bank for one year and receive the following benefits:

• Four luxury, first edition, hardback books, selected for you by our own Editor, delivered to you POST-FREE


• 30% discount on ALL Salt books, including our full range of short stories, poetry, translations, companions, guides and critical books, and our gift books and anthologies


• A FREE copy of the unique full-colour gift book Poets in View by Chris Emery as a welcome present to new subscribers

Looks like a pretty good deal.

And the Winners Are ...

Mick Imlah, Kathryn Simmonds and Don Paterson. No real surprise on the main Forward prize and possibly not an enormous surprise on the best poem prize, but Kathyrn Simmonds's win in the best first collection category seems to have been unexpected. To be honest, I can't really comment, not having read any of the winners (for the nth year running!), so I'll leave the commenting to my fellow poetry bloggers. So far, of those I follow, Rob A Mackenzie and Matt Merritt (who was at the award ceremony and has a poem in the Forward anthology), Colin Will and Todd Swift have commented. As others pitch in, I'll update this post and continue to extend the list. There will probably be some discussion of the merits/demerits of the choices on this Poets on Fire thread.

Poets on Radio 3

I love the work of Michael Symmons Roberts. He's one of the finest writers in Britain at the moment and quite possibly the best religious poet we have. This year, he has published two books: his second novel, Breath, and his fifth collection of poems, The Half-Healed. Both fine books, of which I intend to say more in due course. In this coming Sunday's Sunday Feature on Radio 3, he'll be exploring why elegy is such an enduring poetic mode. Apparently, he

talks to poets Douglas Dunn, Michael Longley and Gillian Clarke about their own elegies and discusses with Andrew Motion the challenges of writing elegies at times of public mourning. Michael writes a series of elegies to the elegists of the past and asks whether, in the way it captures lost moments, objects and people, all poetry is elegy.

Michael's radio style is distinctive and interesting. Should be worth hearing.

Another fine poet and novelist, John Burnside, was the guest on Sunday past's Private Passions, also on Radio 3. I like the programme for its focus on music, as befits its home. Burnside's choices are varied and beautiful; his comments on them typically intelligent and illuminating of his sensibilities and insights. Definitely worth listening to on the iPlayer before next Sunday's edition expunges it.

Inklight Reading: Venue Details etc

Details for the St Andrew's reading are just in:

Venue: The North Hall, All Saints Rectory, North Street, St Andrews, Fife KY16 9AQ
Date: Monday 20th October
Time: 7:30 pm - 8:45 pm, Refreshments served at 7:30pm.
Entrance: Inklight members £2, non members £3.

I'll be reading from the manuscript for The Ambulance Box. Not the first time I've read from the collection, but it's the first substantial reading I'll have done since I assembled the manuscript in its current form. (And, incidentally, the first one ever where mine is the only name on the bill ... )

Catch-up Time

Busy busy busy at the moment here. It's good busy, though. I've proofed my proofs, sent 'em back and had author photos taken for the book (of which more in due course); I'm gearing up for Linlithgow Book Festival and this month's various readings; and I'm working on a Scots language writing project in the secondary school in a neighbouring town. Somewhere in among all this, I prentend to find time to breathe.

Anent LBF, we're delighted that we have our first sell-out event: there are no more tickets left for Christopher Brookmyre's reading on the Friday! There are still tickets left for everything else, but don't delay. And don't forget the open mike reading at 8:30pm on the Saturday night, which I'm hosting.

Speaking of readings, the first of my October run was the St Mungo's Mirrorball HappenStance showcase on Thursday just gone. Turnout was decent despite the less than friendly weather. It was especially encouraging to see some folk who were at the event Helena Nelson and I did at the Mitchell Library for the Scottish Poetry Library a while back and to learn that that had been a significant point for at least one of them.

As for the readings themselves, it was an evening of great contrasts in style of writing and performance, but with a lot of good work. That's the glory of these gatherings. There were eight of us reading--myself, Michael Munro, Patricia Ace, and James W Wood; Paula Jennings, Eleanor Livingstone, Margaret Christie and Rob A Mackenzie. I'm only going to pick out the highlights of the evening for me.

I was very, very impressed with James's new long poem, "The Song of Scotland". It's been published in the latest Poetry Review and, to judge by the excerpts he read, such high-profile publication is well deserved; it's a strong, imaginative, distinctive piece of writing. A rant, yes, but there's a great pedigree of those in poetry. James's HappenStance pamphlet is well worth getting hold of, and I must buy his latest, which is published by Linlithgow-based Jane McKie's Knucker Press.

It was also particularly good to hear Paula Jennings again. Her pamphlet, From the Body of the Green Girl, was so hot off the press it had been pressed into her hand that evening and isn't on the website yet. I like her inquisitive sense of craft, form and line; her quiet confidence and her imagination. Paula was a Shore poet for a while, and it's a shame she was unable to continue as part of the group.

Helena Nelson read only two poems: one at the beginning and one at the end. The latter was a lament for Duncan Glen in ballad form and in Scots. Very brave of Nell, as she's from Cheshire, but she pulled it off beautifully (and I don't say that lightly). She's writing some extremely good formal work these days. The evening was, also, in a way, a celebration of Nell's energy, her skill as an editor and what she has achieved with the press. That's as it should be. She never ceases to amaze me.

There was, of course, an added sense of celebration, given that Rob and I were both reading not only from our HappenStance chapbooks but from the manuscripts of our forthcoming Salt collections. In publishing our pamphlets, Nell undoubtedly gave both our writing careers significant boosts towards that goal, so our celebrations and successes are also very much hers.

Success for Rob

Fantastic news: my friend, fellow HappenStancer and fine poetry blogger Rob A Mackenzie has had his manuscript accepted by Salt to be published some time next year. The book (provisionally entitled The Opposite of Cabbage after a line in one of the poems--can't accuse him of having a dull title!), is really strong and will make a great addition to that list. It'll be a must for anyone interested in lively, intelligent, distinctive contemporary poetry, and I'm so pleased we'll have our first collections out from the same press in the same year. Well done and many congratulations to Rob!

Duncan Glen 1933-2008

I was saddened to hear yesterday that the poet, publisher, critic, designer and typographer Duncan Glen had died. He was not someone I knew well, although I did meet him once or twice. My contact with him came through the Scottish Poetry Library, with which he was closely involved. Indeed, he designed many SPL publications, including the first gathering of poems I ever worked on, Variations on a new song: Poems from the Holyrood Poetry Link Scheme. He was the founder of Akros Publications and the magazine Zed2O, which is celebrated in WN Herbert's poem "Talking Water Blues". Duncan was a significant force in Scottish and Scots language letters and will be sorely missed. Colin Will, who knew him well, and Rob Mackenzie have both posted tributes. There is a full biography of Duncan on the Akros web pages.

Readings Galore!

October is shaping up to be a busy month. Not only is there the HappenStance reading at St Mungos Mirrorball in Glasgow on Thursday the 2nd, but I'll be reading for InkLight, a student creative writing society at St Andrews University on Monday the 20th. The venue for the latter isn't confirmed yet, so more details when I know them. I'll also be reading at the Golden Hour at Edinburgh's Forest Cafe on Wednesday the 22nd.

Coming hard on the heels of those readings, I'm leading the poetry workshop and hosting the open mike at Linlithgow Book Festival on 1st November. Hope to see some of you there.

A Step Closer to Reality

Another significant moment here: first proofs arrived in my inbox from Chris at Salt! I spotted them on my webmail while I was still at work and it's a wonder none of my colleagues asked why the mile-wide grin and slight strut down the scuffed wooden walkway at the centre of the office. But then, we official reporters can all get pretty caught up in the hectic rhythm of a plenary day, so it's not that much of a wonder, I suppose.

That's The Ambulance Box an important step closer to becoming a reality. I know how my weekend will be taken up. Never has proof reading seemed such an enticing proposition.

Horizon Comes Into View!

The first issue of the new Salt webzine Horizon Review, edited by Jane Holland, is now online. It includes one poem of mine, "On Your Arrival", as well as two poems by Rob Mackenzie, and work by Katy Evans-Bush, George Szirtes and Alison Brackenbury to name only a few. There are also fiction, reviews and comment. In short, a lot to explore, and much more pleasingly presented than some webzines. Exciting to be in at the beginning of something, even if only in a modest way.

One Night Stanzas

Just last week, I came across Claire Askew's new blog, One Night Stanzas, designed to guide young or inexperienced writers through some of the thornier thickets of life as a poet. It's a useful site with lots of good advice (and stylish photographs!) worth a look even for those of us with a modicum of experience under our belts. For instance, in her post on beating writer's block, Claire makes this interesting recommendation, which I hope she doesn't mind me quoting in full (if she does, I'll reduce it to the title):

Read poetry you don’t like.
I got this one from a former creative writing tutor, and funnily enough, it works. Everyone has a poet they really, really hate – often one whose work they’ve been forced to analyse in school. Who’s yours? Maybe you have a few? And probably the last thing you want to do when you’re feeling creatively challenged is look at the poetry of someone whose very name gets you foaming at the mouth with loathing. Well, try it. Drag out Wordsworth’s Daffodils or Keats’ Grecian Urn or whatever your least-favourite poem happens to be, and read it over once again. This time, ask yourself: why do I hate this poem? Is it because it’s actually a bad poem, or is there another reason? Do I hate it because I don’t fully understand it? Because I associate it with something negative? Or is it just not to my taste? Think about what puts this particular poet on your personal blacklist… and then do the opposite. Try to find good bits in the poem – is there a particular line that stands out from the rest? Does the basic idea of the poem appeal to you? Has the poet used any unusual words or created an interesting metaphor? Analyse the poem fairly – and from a personal point of view (none of this textbook-style, “what are the hidden meanings?” stuff). Once you’ve worked out why you can’t stand this poet – or once you’ve realised that actually, maybe they’re not a total imbecile – you can start to think about your own work. Write the antithesis of a Wordsworth poem, or try putting yourself in Keats’ shoes and writing in his style. Reading your most hated author really can inspire you, honest. Try it!

Ingenious and generous!

Reginald Shepherd, 1963-2008

In common with many in the poetry blogosphere, I was shocked and sadened to read that the American poet, critic and blogger Reginald Shepherd died this week, aged only 45. The news came to me through Ron Silliman's blog, which is fitting, as it was a link from a post of his that first took me to Shepherd's blog.

Shepherd blogged with clarity, warmth and intelligence, always at length. The post of his that first alerted me to the quality of his reflection was his superb post On Difficulty in Poetry: a revision. Not the grinding, pointless, tiresome polemic about "accessibility" vs "difficulty" one often hears, just real thinking and insight.

I can't improve on or add to the tributes to him by other bloggers, some of whom knew him other than through this peculiar, wonderful, infuriating medium, to which he brought a great deal of sanity. Read them, but be sure to read his writing.

Adventures in Scottish Cuisine

The Scottish Parliament's canteen, following triumphs such as "Cumbernauld sausage" (I kid you not, though I was off at the time so I didn't see it myself), "Scotch broth soup" (stock, barley and tautology) and "cous-cous tabouleh" (I was under the impression it could either be cous-cous or tabouleh, people) is today offering "haggis broth". Sadly, I won't be sampling this delicacy (which can be detected at 50 paces, apparently) as I have my own lunch with me. I'm one to talk, though: my lunch is Ryvitas and sardines.

Draft Poem: Watergaw

This is the second of my projected series of poems in English but whose titles are Scots weather terms. I'll leave it up for a week at the most.

[Poem deleted 18/09/08]

The astute among you will have noticed that the titles of this and the previous draft poem ("Onding") are both words that appear in MacDiarmid's poem "The Watergaw". The MacDiarmid link is not wholly unintentional although, if the sequence continues, it won't be confined to words from that poem.

Lullaby

this is the arm that held you
this is the hand that cradled your cold feet

these are the ears that heard you
whimper and cough throughout your brush with light

this is the chest that warmed you
these are the eyes that caught your glimpse of life

this is the man you fathered—
his voided love, his writhen pride and grief

(This poem appears in Andrew Philip: A Sampler and will also be in The Ambulance Box.)

Great Grog Date Changed

The date for my Great Grog reading has changed. In view of the fact that The Ambulance Box is due out in March, I'll now be reading on Sunday 10th May 2009 alongside Robert Crawford, Brian Johnstone (co-founder of Shore Poets as well as co-founder and director of StAnza) and one other poet to be confirmed. I'm excited to be part of that line-up. Brian's next collection is due to be published by Arc in April. I heard him read from it in August and am looking forward to seeing the book. Crawford is one of Scotland's leading poets and an excellent reader. It should be a good evening.

10 Minutes, Four Hours, One Day

Here is the full information for my reading tomorrow at the Four Hour Festival:

Venue: Evolution Cafe, Evolution House. This is the entrance to eca on the West Port. It's a big glass building right on the corner of the crossroads, apparently.

Time: I'm on at 3pm. The event starts at 1pm with Shore Poet Nancy Somerville. Rob Mackenzie is on straight after Nancy and Ryan Van Winkle is on at 2pm.

Cost: Your time, not your cash. (But if you'd like to buy a pamphlet I'd be most grateful.)

I plan to read from Andrew Philip: A Sampler, the manuscript for The Ambulance Box and one new poem. Hope to see you there.

Bullet Points

The new PBS Bulletin and choice arrived today. I can't let this pass without noting that Katy Evans-Bush (aka Ms Baroque) is the first Salt poet to have her first collection mentioned in the Bulletin. (Curiously, her book's cover isn't shown.) Big congratulations to Katy! Next quarter, Tim Dooley goes one better by being the first Salt poet to get a recommendation. Gaun yersel, Tim!! Janet Fisher is also mentioned, next to Katy, which makes it the first time Salt has got two books in the Bulletin. Congratulations to Janet too.

Pax? Pax?

Here's all I have to say about this story:

The Pax can belt a Mac at Night
xxMiscaw wir Bard and aw that
But critic's care's abuin his might;
xxGuid faith, he mauna faw that!
For aw that and aw that,
xxHis sarky sneers and aw that,
The pith o sense and pride o worth
xxAre higher ranks than aw that.

Meanwhile, in less carnaptious news, Burns's words are to be inscribed on the transport system in the west of Scotland. At a cost of £15,000, the scheme seems pretty cheap. Perhaps we can afford to do something similar for more of Scotland's great poets. (Maybe a sequence of topiary somewhere to commemorate MacDiarmid.)

Lithuanian Poets

To the Book Festival yesterday for a reading by three Lithuanian poets: Eugenijus Alisanka, Gintaras Grajauskas and Sigitas Parulskis, representing one half of the anthology Six Lithuanian Poets. It was a fairly small audience, not even filling up the smallest of the festival's performance tents. A pity, really, because the absentees missed themselves: it was a very good reading. The poets read their work in Lithuanian, with the translations read by somebody from Arc whose name I forget but whose face is familiar (though she does look very much like Iseabail McLeod formerly of Scottish Language Dictionaries). I'm utterly unfamiliar with Lithuanian, but it was still fairly easy to hear some of the rhythm and song that was missing from the translations, although the latter weren't bad poems in English either.

Next definite on my festival list is "Jidariyya", by the Palestinian National Theatre. It's based on a poem by Mahmoud Darwish, who died at the weekend, so it ticks the poetry box too. After that, it's my 3pm appearance at the "Four Hour Festival" on Saturday, though I'm hoping I'll get the chance to look in on other West Port Book Festival events too.

45 Minutes

My poem "45 Minutes" has just been posted on the Artisan Initiatives website. It was written for the Artisan magazine time-themed issue, but they couldn't fit in. Never mind, I'm happy with online publication and very pleased to contribute. However, when you read it, bear in mind that each of the lines beginning "time enough" is supposed to be indented, which it isn't on the web page, and that the other lines have run over the end of the rather tight space it has been put in. It does nark somewhat when people ignore the shape of the poem on the page, but perhaps my long lines were somewhat impractical for the publication!

Update: the formatting has now been corrected and the poem looks as I intended it. (Thanks, Jess!)

A Clear Beginning

My 2008 Edinburgh festival season began last night with a trip to the Usher Hall to hear the BBC SSO under Ilan Volkov perform Thomas Adès’s Tevot and Olivier Messiaen’s final work, Éclairs sur L'Au-delà.

Tevot, a recent composition, was described in the programme note (which you can find here) as “effectively Adès’s second symphony”; if that’s the case, at just over 20 minutes long, it’s a fiendishly compressed one. Of course, it’s certainly not the first symphony to consist of a single movement, but the pace of the musical development for the first third or so seemed relentless. The string writing often seemed to be in opposition to what the rest of the orchestra was doing and, just as I had begun to absorb what was happening, the music would shift direction, forcing my ear to retune itself again. However, the piece climaxes with an intensely beautiful, moving treatment of a simple rocking melodic figure that starts out on the strings, is passed along the woodwind and then developed by the orchestra as a whole before the string writing begins to separate itself slightly from the rest of the orchestra again.

I had half-listened to Tevot on the radio a couple of weeks ago, but this was the first time I’d heard any Adès properly. I was certainly left wanting to hear the piece again. I have every intention of investigating his previous work and following his future compositions.

The Messiaen was the piece I was really waiting for. I’ve blogged before about the significance of Messiaen’s music for me, and I’ve loved this work since I first heard it on Radio 3 in 2004 played by the Berliner Philharmoniker under Simon Rattle, whose recording I cannot recommend highly enough.

Éclairs sur L'Au-delà couldn’t be more different from Tevot in many respects. If the latter seemed a bit impetuous at times, Éclairs was more than a tonic: Messiaen certainly takes his time to explore his hope and vision of heaven in 11 movements ranging in length from less than two minutes to more than 11. You’ll be glad to hear I won’t attempt a blow-by-blow account of the piece or performance, but I will, of course, say something.

Éclairs is full of Messiaen’s characteristic tonal colour and rhythmic/harmonic invention. It opens with an incredible chorale for brass. Here—and in the the fifth and final movements, in which the strings take up the song—the almost static harmonies and melody the create an expansive musical space, a sound world that I almost feel able to walk about in. It’s difficult to describe the emotional tone and impact of these movements. Words such as majestic, sombre, rapt and ecstatic come to mind but none of them capture the profound sense of something beyond understanding, beyond tension and peace. I have to say, though, Volkov and BCC SSO didn’t quite put this across as powerfully as Rattle and the Berlin Phil.

There is, naturally with Messiaen, plenty birdsong throughout the piece. Here, the woodwind shone brightly, especially in the gloriously, joyfully chaotic ninth movement, “Plusieurs oiseaux des arbres de Vieu”. But there was some tremendous playing throughout, notably from the flautists.

All in all, it was a fine performance. Bits of Éclairs are filling my head even now. That’s probably my live Messiaen fix for another year or so, so I’d better live off it as long as I can.

Benali Hits the Fringe

More excitement here yesterday when I discovered that "Yasser" was on at the Assembly Rooms this Fringe. Why? Well, it's written by someone I know: the Dutch Moroccan novelist Abdelkader Benali. I haven't seen or heard from Abdel for a long while, but I keep loosely up to date with his life and career through our good mutual friends. My Dutch (practically non-existent) isn't good enough to appreciate his work in the original, so I'm delighted at the opportunity to experience it in English on my home soil.

Contracted

A big moment here yesterday: my contract from Salt for The Ambulance Box came through. It feels such a significant point to have reached; the book is that next step closer to becoming a reality! I was almost as excited as when Chris Hamilton-Emery accepted it! (You can tell by the number of exclamation marks in this post.) Now there's work to do on biographical notes (I'm used to them), describing the book (something I'm much less practised at)--blurby stuff, in other words--and thinking further about how to market it.

Phantom Purchase

The Herald reports today that the title painting from Alison Watt's recent National Gallery exhibition, which I saw during my trip to London in May, has been bought by the Gallery of Modern Art in Glasgow. I'm delighted it'll be on permanent display reasonably close to home.

Just heard the excellent news that Dedalus Press in Dublin will be publishing my friend Ray Givans next year. Ray has had several small press publications previously, but this will be his first full collection. I'm delighted our first collections will be out in the same year.

Slotting In

My time for the "Four Hour Festival" event has been confirmed: I'm on at 15:00 and it's a 10-minute set. Plenty time to get myself organised for that.

The event is open to prose as well as poetry and I've no idea what the balance between the two will be, but it should be fun. It also includes Shore Poet Nancy Somerville at 13:00; fellow blogger and HappenStancer Rob A Mackenzie at 13:10; and the Scottish Poetry Library's new reader in residence, Ryan Van Winkle, at 14:00. That's three other poets at least. I don't recognise any of the other names on the bill, so I'm looking forward to hearing some unfamiliar writers, including the fabulously named Jimmy Warblegoose.

Forward Reading +

Dropped into the Scottish Poetry Library to pick up a couple of the books on the shortlist for the Forward best first collection prize. I've decided to focus on that prize because of the stage I'm at in my own publishing history. Frances Leviston's and Andrew Forster's books were the only two from the list on the shelves, so I've come away with them.

They'll have to wait a little, however, until I'm finished Window for a Small Blue Child by Gerrie Fellows. It's a cracking book. I knew it would be good because I heard Gerrie read from it when we appeared together for the Poetry Association of Scotland last year, but I'm enthralled by its power and lyricism and I'm enjoying it hugely. Get your hands on it.

Forward Shortlists 2008

In the past few days, this year's Forward Prize shortlists have been announced. Here they are in full:

Main Prize
Jamie McKendrick - Crocodiles & Obelisks (Faber)
Sujata Bhatt - Pure Lizard (Carcanet)
Mick Imlah - The Lost Leader (Faber)
Jane Griffiths- Another Country (Bloodaxe)
Jen Hadfield - Nigh-No-Place (Bloodaxe)
Catherine Smith - Lip (Smith Doorstop)

First Book
Simon Barraclough - Los Alamos Mon Amour (Salt)
Andrew Forster - Fear of Thunder (Flambard)
Frances Leviston - Public Dream (Picador)
Allison McVety - The Night Trotsky Came to Stay (Smith Doorstop)
Stephanie Norgate - Hidden River (Bloodaxe)
Kathryn Simmonds - Sunday at the Skin Launderette (Seren)

Single Poem
Seamus Heaney - "Cutaways"
Christopher Buehlman - "Wanton"
Catherine Ormell - "Campaign Desk, December 1812"
Don Paterson - "Love Poem for Natalie 'Tusja' Beridze"
Kate Rhodes - "Wells-next-the-Sea"
Tim Turnbull - "Ode on a Grayson Perry Urn"

It would be idle for me to comment on the quality of the choices because, as usual, I've read hardly any of books on the shortlists. (The only one I have read is Hadfield's, which is strong, inventive and fresh.) However, I can see it's another good year for the small presses, especially on the first collection list. I'm glad to see Salt there for the third year running (not that I have any vested interest, you understand!) even if it's with fewer titles than last year. Simon Barraclough's book is being talked about as a strong contender, though Frances Leviston's seems to be considered the frontrunner. It's also a pleasure to see and acquaintance, Andrew Forster, appear on the list.

Cape is conspicuous by its absence in either of the collection categories. A shame there are no Salt titles on the shortlist for the main prize. If I remember rightly, Luke Kennard's The Harbour Beyond the Movie was the only book on last year's main list from a press outside the Mighty Handful; the pattern is repeated this year with Catherine Smith's collection in that position.

Of course, next year I might not be quite so dispassionate about the whole thing ...

The Professionals

Just discovered this page of interview excerpts from a small gathering of big-name poets. It's something of a mixed bunch to my eye (no great fan of Betjeman, me), but it looks worth investigating and at least it's pretty international. I'll certainly be commenting on Walcott's remarks on rhyme at some point once I've digested them a bit more and formulated my response.

I'm intrigued by the url: "... audiointerviews/professions/poets ..." Perhaps someone at BBC Four is under the impression there's an awful lot more money in poetry than any of us involved it think.

Pretending to be Normal

You know, I haven't written anything for weeks. It's not a case of writer's block as much as one of writer's break, one of those fallow periods you have now and then. In past years, I've found the summer a surprisingly unproductive season: I never write on holiday (so I no longer expect myself to); my day job slows down to such an extent that the dust even loses all motivation to shift in the stale air; and August gets filled with the festivals.

I've come to accept that summer isn't a time to try to push myself into generating new poems. But it's an odd sensation, since I feel like I'm pretending to be a normal person. The pretence can't last long, of course. I start to fidget interally and can't really rest after a while. And normal people don't exactly get excited about going to a Messiaen concert or get interested in hearing Lithuanian poets read. In fact, I have strong suspicion that all normal people usually found in Edinburgh evaporate for the month of August, perhaps due to the heat generated by the sudden influx of artistic types from all over the globe. Maybe there's a solution to the looming energy crisis in there somewhere. Now, if only we could find a way to harness ...

Adès on Beauty

I like this comment on beauty from composer Thomas Adès (from an article in the Telegraph on his recent piece about the creation):

"Why would anyone be ashamed of beauty? It's a very 20th-century idea that you might be. Thankfully that's gone."

Four Hour Festival

I have a slot on the West Port Book Festival's "Four Hour Festival" event. No time confirmed as yet, but I'll post when it is. You can find the full programme here.

Culinary Gems in Kintyre

No apologies for the silence over the past fortnight or so, as I've quite enjoyed the wee break. We returned a week ago from seven days in Caradale on the Kintyre peninsula and life has been quite busy since. The weather in Kintyre was very mixed, but the scenery was (as the photos below show) fabulous:

Don't you just love the light in this one?

And there was some great food. If you find yourself in the area, drop by the tearoom at the Caradale Network Centre. Everything is freshly made on the premises (apart from the vanilla ice cream but, as there are three other flavours, that's no loss) and delicious. Reasonably priced, too.

Further north, at Skipness, is the Seafood Cabin. The weather was dismal on the morning we were there, so a bowl of moules marineres sounded like a good idea. It wasn't: it was a fantastic idea. Best mussels I've tasted in ages. My only regret was that we didn't make it back to try out the other fare on the menu.

All in all, it was a relaxing week. I managed to read Ciaran Carson's wonderful For All We Know and Hazel Frew's collection Seahorses as well as get stuck into a selection of Van Gogh's letters I've had on my shelf for ages. Now the madness of August is staring us in the face, and I'm counting the pennies to work out how much I can see.

Knucker Launch

Jane McKie's Knucker Press launches what looks like an interesting new pamphlet tonight: Way Out by Victoria Macrae. Here's what the press's website has to say about it:

In early 2008 Victoria Macrae spent 65 days, 19 hours and 37 minutes as an in-patient in Ward 6 of the Royal Edinburgh Hospital. During this period the view from her window became very important to her: "I needed to see the outside world and connect somehow to the outdoors. I began noticing the way the light hit the architecture at different times of the day; the way the windows opposite would move in the gales and reflect sunlight temporarily into my room. The effects of the changing sky and weather, and the importance of finding beauty in something that would not be seen as traditionally beautiful, was an important part of my recovery". She created a unique visual record of that time with the camera on her mobile phone. 'Way Out' is a beautiful and affecting folded concertina pamphlet with a selection of Victoria's full colour photos and word poems.

Unfortunately, I won't be able to make it to the launch, but I'll definitely be keeping my eye on the Knucker publications.

New Fest on the Block

As yesterday's Sunday Herald reports, Edinburgh has a new book festival this year in addition to the established Edinburgh International Book Festival. It's called the West Port Book Festival, and it's all free! You can find out more here. The programme doesn't launch until 11th July, so I can't tell you any more, but from what the Sunday Herald could reveal, it sounds like a good line-up.

This isn't the first time there's been an alternative event to the EIBF. The Edinburgh Book Fringe ran a couple of years, focusing intentionally on Scottish authors who didn't get (much of) a look-in on the festival in Charlotte Square, but those were paying events. The Thirsty Lunch was something more similar to the West Port venture, but I've seen no sign of that continuing this year. Perhaps the West Port festival will stick around a bit longer. I certainly like the idea of holding the events in second-hand book shops.

Artist on a Quest Again

Time once again to highlight the blog of my good friend and sometime collaborator, the painter David Martin. Two years ago, he embarked on an epic tour of the middle east to gather material for his Salvesen award exhibition, following the trail of Hermes Trismegistus. His blog of that adventure proved him to be a distinctive and entertaining writer as well as a fine artist.

Dave is on his travels once again. This year, he's wandering through Ethiopia and Eritrea. As with the previous occasion, his blog is proving to be fascinating, lively reading. Photos and sketches are already appearing.

This is one of my favourite shots so far. I love the way he's just playing table football out the open with a bunch of guys as if he was in the side room of some Edinburgh pub.

Dave also has a new website. Check out his work if you don't already know it. If you do, reacquaint yourself.