About "An Attempt at Exhausting a Place in Leicester," edited by Jon Wilkins

By Jon Wilkins

I love writing crime fiction. I also love reading crime fiction and this is the story of how reading about a Parisian private eye led to an anthology about Leicester.

Cara Black is an American Francophile who introduced detective Aimée Leduc to the world seventeen or so novels ago. Aimée has developed from a chic woman about town beating men off her to a chic one-parent mother beating off her baby’s sick and changing nappies. Her best friend Rene was relaxing and reading a book in the sixteenth novel, written about Paris by Georges Perec. Rene was intrigued by the book and so I investigated his An Attempt at Exhausting a Place in Paris further. What a wonderful work.

I sat at the local Deli in Kirby Muxloe, trying out Perec's technique, writing about everything I saw, and found it strangely compelling - and then I too began to wonder: how can you wring everything out of a city in a creative writing sense? Is it possible to write about a place and exhaust every avenue so that there is nothing left to write? Can you fill a book about Leicester and then be left with nothing, a void?

This was what I wanted when I asked writers to offer me a piece showing me their love of Leicester, to be produced in an anthology of creative writing: An Attempt at Exhausting a Place in Leicester.

I was overwhelmed by submissions, well over a hundred, and so the answer was clear: you can never write everything there is to know about a place, as you will always find something new to write. What was exhausting was the selection process - to whittle it down to a manageable project, the best of the work offered, and the end result of 68 contributors.

Among the contributors, there is a wide age range, from 12 to 72, a fairly balanced gender range, as well as contributions from all over the world - including the USA by a Leicester ex-pat, Poland, and Finland from someone who was over here for a university semester. There are poetry and prose poems, non-fiction and fiction, ghost stories, dystopian tales, memoir, futuristic dreams, as well as lots of nostalgia for a well-loved and well-remembered city. And it wouldn’t be about Leicester if King Richard didn’t pop his head up in various guises. We meet the Vikings and Oscar Wilde, both visiting Leicester for the first time, and take a trip down the Golden Mile and the River Soar. There is an amazing street art piece journeying through the city landscape as well as poems all about places we know and love in Leicester. Charnwood and Bradgate Park are explored by an intrepid young reporter as well as some well-known Leicester poets and we have an acclaimed writer honouring The Curve in a poetic piece. Among the highlights are the pieces by unknown writers, young and old, as well as schoolchildren working on the Colonial Countryside project, who wrote about Calke Abbey, which has been claimed by Leicester for this anthology.

Illustrating the book is the work of that wonderful local artist Sarah Kirby, who shows the beauty of Leicestershire alongside the words.

Here is an extract from my own piece:


Yellow hatted man
Black Merc parks on Market Street
Illegally
Black Ford SUV blast horn at him
                                                   Pink haired woman wandering
                                                   Wondering?
Diet conversation continuing
Stop drinking seems to be the message
Beggar back
As is sleeping bag
Silver Toyota passes
                                Asian women chatting
                                Sikh man in yellow turban
                                Woman in Blue 60s mod cap
Asian couple, one bald
Purple VW
Girl with “Fight Animal Testing” bag
Older couple pass, then they split up walk in different directions

Black Merc now flashing warning lights
               Deliveroo down Horsefair Street
               Cyclist down Gallowtree Gate
               Cyclist towards Market Place
Yellow bin lorry into Market Place
                                                                                              Pigeons
                                                                                So many pigeons
White Enviropest van
Woman on bike passes me by
Pipe Centre lorry on Granby Street
White Uber taxi
                                                                                                88 bus
Older couple in pink and grey puffer jackets
Young Asian girl walks towards Gallowtree Gate
Man with vape
First vape of the day
Road sweeper slowly cleans the gutters of Granby Street
Boy with subway
Silver VW
                                2 Asian chaps in conversation
Painter in spattered dungarees passes down Horsefair Street
Asian couple chatting
I get up and stretch to the sky
Sun shining
I pack away my notebook
                                           My pens
                                                           Finish my cold coffee
                                                                                              Make my way home


There is something in the anthology for everyone. The book is available at Visit Leicester, to order from local bookshops, on Amazon or lulu.com and it will be formally launched at the end of this month.

Events are being held all over Leicestershire to celebrate publication, look at our Facebook page or the Eventbrite ticket site. All events are free and you will have the chance to purchase the book at a discounted price as well as books written by the many contributors.
The wonderful thing is that there will always be something else to write and hopefully this anthology will encourage you to do just that. Why not write a poem or a story, a blog or a script about a place you love? Write it and keep it. You never know when I might be asking for contributions to volume 2!


About the author and editor
Jon Wilkins is 64 later this month. He has a gorgeous wife Annie and two beautiful sons. He is a retired teacher, lapsed Waterstone's bookseller and former Basketball Coach. He taught PE and English for 20 years and coached women’s basketball for over 30 years. He regularly teaches at creative writing workshops in and around Leicester. Latterly Jon has been taking notes for students with special needs at his two local universities.

Jon has always loved books and reading. He has had a few pieces published and exhibited and has his writing on various blogs. He enjoys presenting papers at crime fiction conferences - it keeps his mind active and is a great way to meet new people and gain fresh ideas for writing. He also loves writing poetry. 

For his MA from DMU, he wrote a crime novel set in Utrecht. It is part of a series of murder mysteries planned based in the Dutch city. It’s great to wander the streets of Utrecht or drink coffee next to the canal, watching and listening to people for his book. Jon is also writing a crime series set in the Great War and the early 1920s. The first part, Poppy Flowers at the Front, will be published by Brigand Press in February 2020. He feels it is a pity that he can’t retreat back to the Roaring Twenties! 

Jonathan Davidson, "On Poetry"

Jonathan Davidson was born in 1964 and grew up in the Didcot, South Oxfordshire. He has lived for many years in Coventry and now lives in Birmingham. He won an Eric Gregory Award from the Society of Authors in 1990 and his first collection of poetry, The Living Room, was published by Arc Publications in 1994. This was followed, seventeen years later, by Early Train (Smith|Doorstop, 2011). He has also published three poetry pamphlets, Moving the Stereo (Jackson’s Arm, 1993), A Horse Called House (Smith|Doorstop, 1997) and Humfrey Coningsby: Poems, Complaints, Explanations and Demands for Satisfaction (Valley Press, 2015), and an e-book Selected Poems (Smith|Doorstop, 2014). His combination of memoir and criticism, On Poetry, was published by Smith|Doorstop in 2018. He has had eight radio plays broadcast on BBC Radio Three and Radio Four, along with radio adaptations of Geoffrey Hill’s Mercian Hymns and W.S.Graham’s The Nightfishing on BBC Radio Three. His stage adaptation of Mary Webb’s novel Precious Bane was produced by Interplay Theatre and toured extensively in 2008 and 2009. He has produced six poetry-theatre works, his most recent touring shows were The Hundred Years’ War (touring in 2014/15) and Towards the Water’s Edge (touring in 2016/17), both co-productions with Bloodaxe Books and the Belgrade Theatre Coventry. He is director of the project management company Midland Creative Projects Limited, Joint-Founder of the Birmingham Literature Festival and Chief Executive of Writing West Midlands. He is Chair of the National Association of Writers in Education.

Featured below is an extract from Jonathan's wonderful book On Poetry (Smith|Doorstop, 2018). Further details about the book can be found on the publisher's website here. 

From On Poetry 

In the mid-1980s the Yugoslavian poet Ivan V. Lalić came to the city of Leicester to give a poetry reading.[1] It was arranged by the poet Catherine Byron and by her then partner, the poet Michael Farley.[2] Ivan V. Lalić died in 1996. I haven’t heard of Catherine for a while and I long ago lost contact with Michael.[3] Wherever they are this little event that they engineered still resonates with me. It was unusual. It was typical. Poets and others gathering in a city in the English Midlands to listen to poetry in its original Serbian and in English translation was unusual. That there were only about a dozen of us there to listen was typical. I was in my early twenties and it was my first experience of poetry in translation and the first time I had met a poet from an alien poetic culture. Had I known more about poetry I would have known that there are no alien poetic cultures but my diet had up until then been exclusively the poetry of the English language, and mostly the poetry of English poets. And mostly dead English poets. Lalić was a poet working beyond the range of my experience. Despite this, I remember watching him take off his belted fawn overcoat at the start of the reading and turning to look at us as if we were already his part of his world, as if we were citizens and contributors to a Poetry Commonwealth. And we were. Both. 

Lalić was a gentle, quietly spoken man. He was the object of our intense attention but he presented himself modestly, aware that he was a dignified curiosity. If he was concerned about whether his poetry would mean much to us in its English translation he didn’t let on. Carefully he read the translations and carefully we listened. Each poem was let loose into the room as if at its moment of creation. And for those of us who hardly knew this poet existed, it was as good as hearing the poems at their making. The translations may have been particularly fine, his introduction to each poem may have given us just what we needed, or the background hum of the Leicester inner ring-road may have been the perfect incongruous detail. Or perhaps it was that Lalić’s poems had something that carried them easily across the disputed kilometres and through the dangerous century. They went from the past into the future. None of us knew then what a broken future it was to be. 

I have comes across his poems now and then over the decades that followed, most recently “The Spaces of Hope,” translated from the Serbian by Francis R Jones.[4] This was published in the UK a few years after Lalić’s reading in Leicester, but he may have read it in manuscript form. It is a deceptively direct and simple poem. It does not, in translation anyway, rely on poetic sleights of hand or obtuse references – although the details are not entirely universal. It is not a work of imagination so much as a work of reflection. The title, despite being rather abstract, echoes through the poem and gathers meaning. There are some agile phrases. “A starless night lit only / By a book on the table” is a lovely idea and a lovely image. The poem is a perfect meshing of the facts of the matter with precise analysis of their potential implications. 


The Spaces of Hope 
by Ivan V. Lalić 

I have experienced the spaces of hope,
The spaces of a moderate mercy. Experienced
The places which suddenly set
Into a random form: a lilac garden,
A street in Florence, a morning room,
A sea smeared with silver before the storm,
Or a starless night lit only
By a book on the table. The spaces of hope
Are in time, not linked into
A system of miracles, nor into a unity;
They merely exist. As in Kanfanar,
At the station; wind in a wild vine
A quarter-century ago: one space of hope.
Another, set somewhere in the future,
Is already destroying the void around it,
Unclear but real. Probable.

In the spaces of hope light grows,
Free of charge, and voices are clearer,
Death has a beautiful shadow, the lilac blooms later,
But for that it looks like its first-ever flower.


Lalić was never a familiar name, despite his reading in Leicester, and since his death it is all too easy to assume that his poetry has stopped emitting light. This poem proves this is not the case, it is so powerful still. Sometimes, I think, it is important to read the poems that are furthest from us – in age or geography or cultural background – because what manages to be transmitted across time and space and from language to language, that will be poetry. This is what I want as a reader and listener, from out of the static and white noise, to suddenly receive poetry. However distant the galaxy – a poem can take hundreds of years for its light to reach us – reach us it may. It demands some work. It can be terribly inconvenient to have to have our receiving dishes constantly turning day and night and to pick out the verse from the interference and static. 

It is an exaggeration to say that as a reader I have preferred to travel on foot and across open country with nothing but the stars for guidance but I do like to take the back roads. Which is in itself somehow fitting as poetry can be at its most powerful when, having offered us the ambiguity of metaphor and simile, and the formlessness of abstraction, and the beguiling clatter of consonance, and all the many other doors and chambers through which a poem passes, the road rises and the mist suddenly clears and we find ourselves on a hill top staring at a star we didn’t know existed.[5] Re-reading “The Spaces of Hope” I imagine how Lalić must have set out to discover what this almost gauche abstraction might mean for one who had lived through the Second World War, who had grown up in a country within a country, who knew the bloody uncertainty of history. He might have written a memoir or a history book, but he chose to write poems. And in this instance, he focussed on a street in Florence and the railway station at Kanfanar.[6] And, most tellingly, on little lilac flowers.[7] Things both particular and universal. The poem, created so many years ago, is received. Still. Like light. 

Although it was Anvil Press Poetry in the 1980s who were making the work of Lalić available to readers in the UK, it was Bloodaxe Books who did most in my 20s to introduce me to poetry in translation. I was slightly too young to register the impact of the Penguin Modern Poets in Translation Series but Bloodaxe continued the work of this series by intercepting and making public the poetry of poets from a politically volatile Eastern Europe. They published, for instance, the Czechoslovakian poet Miroslav Holub and the Romanian poet Marin Sorescu, both of whom wrote from within political systems that seemed to simultaneously celebrate and frustrate poets and poetry. While at Leicester Polytechnic I helped make a performance of the poetry of Russian dissident poet Irina Ratushinskaya, drawn from the collection No, I’m not afraid, published by Bloodaxe in 1986. Her story, we reasoned, would be more powerful if her poems were performed. The audience, the performers, the poems and the poet, would all have made a connection. Even if she were imprisoned – as she had been – her poetry could be released. Poetry can make its own moments. It can at least help to change the world.[8]

In the early 1990s I was in the position to invite poets to give readings.[9] The details are hazy, but somehow I arranged for Miroslav Holub to visit the steel making town of Scunthorpe in North Lincolnshire. He read the English translations of his poems and they seemed at the time to be perceptive and wise. Perhaps he wrote with the knowledge that for his work to have an audience beyond that of his small country he would have to be translated, and there is a sense in his best work that nothing has been lost in translation. Here is his poem “The Door,” translated by Ian Milner:[10]


The Door 
by Miroslav Holub

Go and open the door.
         Maybe outside there’s
         a tree, or a wood,
         a garden,
         or a magic city.

Go and open the door.
         Maybe a dog’s rummaging.
         Maybe you’ll see a face,
         or an eye,
         or the picture
                  of a picture.

Go and open the door.
         If there’s a fog
         it will clear.

Go and open the door.
         Even if there’s only
         the darkness ticking,
         even if there’s only
         the hollow wind,
         even if
                  nothing
                           is there,
go and open the door.

At least
there’ll be
a draught.


As with so many poems by Holub, it speaks with a clarity which makes the ambiguity of his intent more powerful. We can assume that for much of his writing life Holub was having to say one thing and mean another.[11] And perhaps his career as a scientist ensured that he wrote with a certain detachment, the better able to present his observations. Certainly this poem is a long way from the personal introspection that marked so much poetry written in the same period in Western Europe. His personality is absent. With good reason. The poet, perhaps, had been asked to step into a side room to have a word with some gentlemen from the Ministry. So we are alone with the poem. Just us and the words. We hear footsteps in the corridor outside and doors opening and closing, but there is just enough time to appreciate the suggestion that the poem offers, that other ways of living are possible and that a country – that individuals – should have the nerve to find out what they might be. 

Not long after that reading by Miroslav Holub I went to see the film Manon des Sources, screened at the Scunthorpe Film Theatre, then run by my friend Tony Whitehead.[12] This was still the days of films arriving from wherever they had been last shown in a series of shallow tins, each numbered so that the projectionist knew in which order to screen them. Shortly after the opening credits and a bit of Gallic action, we witnessed one of the lead characters, Ugolin, committing suicide by hanging himself from a tree.[13] But that can’t be right, we thought, surely that’s part of the grim denouement? And then what must have been the next reel was screened and we were somewhere in the middle of the story. We did our best but couldn’t make head nor tail of it. Then the screen went dark. Tony came on the address system to say that the reels had been mixed up by the clots at the Grimsby Film Theatre so he was just going to have to screen them one by one and could we give him a shout when it all made sense. It took four hours but it was an oddly profound experience. Which is what writing poetry may be about, just giving a shout if we think, even momentarily, that it all makes sense. Which was what Ivan V. Lalić was doing, that evening in Leicester. And what I still listen out for. 


Notes
[1] This was before the Yugoslavian wars of succession in the 1990s. 
[2] Catherine Byron was the first published poet I met, at the age of 21. She was also the first person to refer to me as ‘the poet…’ Michael Farley was the second published poet I met. They ran a poetry workshop for the Workers Educational Association in Leicester. I went when I was a student at Leicester Polytechnic. I told none of my friends. Poetry begins in secret. 
[3] When I last spoke to Catherine, a few years ago, she had given up writing poetry and left England. She sent me a book, Salmon: A Journey in Poetry, 1981-2007, as part of a dispersement of her library. So poetry is passed around. Michael Farley I lost track of many years ago – this was before social media – but occasionally I meet people who knew him. He was beautifully serious.
[4] From The Passionate Measure, Ivan V Lalić, translated by Francis R Jones, Anvil Press Poetry, 1989, and included in Centres of Cataclysm, edited by Sasha Dugdale, David Constantine & Helen Constantine, Modern Poetry in Translation/Bloodaxe Books, 2016.

[5] Or, “Silent, upon a peak in Darien,” as Keats suggested in his poem “On First Looking Into Chapman’s Homer.”
[6] Kanfanar is a small village in Croatia and lies at the interchange of the Istrian Y expressway/motorway B8 and A9, as well as on the Divača to Pula railway, and was formerly the junction of a branch-line to Rovinj, so I believe.
[7] Oh, and odd that “lilac” should be an anagram (minus the accent on the ‘c’) of Lalić. Odd, irrelevant, but apt.
[8] Irina Ratushinskaya was released from a Soviet labour camp in late 1986 and the poetry she had written while in prison added to the mounting pressure on Mikhail Gorbachev to introduce Glasnost which led eventually to the end of the Soviet system.  
[9] I was Literature Development Worker for South Humberside based in Scunthorpe, with Grimsby as the other jewel in my crown. I had a small budget and a telephone on a desk in Scunthorpe Central Library opposite Brigid, the Dance Development Worker, and with the Music Development Worker, Dan always off somewhere banging cans and singing, and the Film Theatre just downstairs run by my dear, late friend Tony Whitehead, who loved Carry on Films and Avant Garde French Cinema, and could tell the difference between the two. 
[10] Poems Before & After: Collected English Translations, Bloodaxe Books, 2006. 
[11] Although he was not overtly political, after the Prague Spring of 1968 Holub became a non-person in Czechoslovakia. 
[12] A film released in 1986, directed by Claude Berri and adapted from the novel by Marcel Pagnol. 
[13] And so apparently ending the long line of the Soubeyran family. 

"Between the Lines" by Matthew Bright and Christopher Black

By Matthew Bright

Between The Lines (I realised only when I sat down to write this post) was originally written ten years ago. It was the penultimate project of my Creative Writing undergraduate degree, and the theme was 'writing for publication.' It was a collaborative project, and so my classmate (and housemate) Chris Black and I decide to produce our project together, reasoning that surely this would be easier (it was not). In preparation we toured a printing press, which gave us an unnecessarily thorough understanding of CMYK colour matching and not much else, but what it did spark was the idea that we wanted to create something that could only work when published in print. 

Then naturally, we let the six weeks we had to produce the piece go by, until the deadline loomed a mere week away. We were proud of ourselves for getting to work so ahead of schedule.

Over four long, long nights – working on two computers and somehow patching the whole thing together with a pirate copy of Powerpoint – we pulled together what would become Between The Lines. We hit on the idea of two books on a shelf whose stories bled into each other, and extrapolated from there. It begins as two separate stories: a Victorian gentleman unhappy with his social lot, and a contemporary student negotiating drugs, drink and ennui. They begin to exchange messages across time and, as the book continues, the stories begin to literally merge on the page, eventually becoming one single story. Contrary to expectation (Chris being mainly renowned for his drinking skills, and me being known for a fondness for top hats, bow ties and Victoriana), Chris laboured on the story of Mr Dashby, and I wrote the story of his modern counterpart, Bex. But of course, it wasn't that simple—writing something of this nature was complex for all the usual reasons writing is complex, but also in numerous practical ways. To make the stories work, we had to inch through each one slowly, keeping them moving at the same pace, mirroring each other. Sometimes we had to write character, and make it work for the layout; sometimes we had to write for layout, and make it work for character. Of everything I wrote in my three years of undergraduate work, Between The Lines taught me more about the intricate workings of text than anything else.

And somehow, by 9am Friday, bleary-eyed but proud, we had Between The Lines complete.

Years later we came back to re-read it. That's normally a pretty horrifying experience, returning to writing and finding it's now juvenilia, but we were delighted to discover that Between The Lines still stood up. The version now released in the Stretto Fiction series of Roman Books is largely the same as the original version; there's some cleaning, some softening, some polishing—it turned out Mr Dashby drank a lot of tea; it was symbolic tea-drinking, but nonetheless, some of it really had to go—but otherwise this was the Bex and Mr Dashby that first came to life in a small back bedroom of a student house in Leicester. And now it's the Bex and Mr Dashby who are out in the world for everyone else to discover—this strange, unusual book that we created. We hope you love it as much as we do.

You can see more about the book here. 

You can read a review of the book here. 

About the authors

Christopher Black is a relentless optimist despite a total lack of success or recognition. He works as a Data Manager for clinical studies specialising in oncology and makes music with dated rock outfit Rhyn. 

Matthew Bright is a writer, editor and designer who’s never too sure what order those come in. He is the editor of several anthologies and his fiction has appeared in various publications. His short story collection, Stories To Tell In The Dark, is out from Lethe Press this October. www.matthew-bright.com

Work Experience, Copywriting and Journalism

By India Wentworth

It all goes back to A-Levels. I knew I wanted to go into journalism but also wanted the option to teach at some point in the future too. English was always my favourite subject, and kept things broad, so it seemed like the best option as my undergrad. 

Now that I’ve graduated, I’m about to complete my journalism diploma with the National Council of Training Journalists (NCTJ). This is an accredited qualification that allows me to eventually secure a trainee journalist position (fingers crossed). I decided to do this as a distance learning course, and gain work experience by taking advantage of the flexibility this route offers. I was advised on Linkedin that the NCTJ accreditation with lots of work experience was what employers would want. As a side note, I’d definitely recommend using LinkedIn as a way to ask questions, because although a lot of people will never reply, some will, and as a result you gain valuable advice around the industry you’re interested in.

My experience with DeltaNet International came up with an email from the university careers team that went out to all students. They were looking for a copywriter, and I figured that any experience in writing was worth having. The role wasn’t limited to writing for the website; I was working on a large-scale digital PR project, as well as getting involved with other ad-hoc marketing duties, such as creating a marketing hand-out for exhibitions and conferences. 

I was in charge of creating databases to work out what questions people were asking on Google around the topics DeltaNet dealt with as a company. From these databases I then went on to write the articles – they were like an extended FAQs section to the website. These pieces explained things that might seem quite dry and confusing (like cyber security) and turned them into an approachable, easy-to-understand articles for people to read. The result of these articles have been an increase in business for DeltaNet because more people are coming to the website, and consequently their numbers of customers have shot up too.

I may not be aiming for a career in Marketing, but the skills I gained from my two summers with DeltaNet have enriched my CV massively, as well as getting my work read by hundreds of people - some of the articles have more than a thousand views! 

Experience is everything nowadays. The extra things you can get on your CV, in addition to your degree, will make you stand out, especially in the creative industries. 

About the author

India Wentworth has recently graduated from the University of Leicester in English. Her aims are to go into broadcast journalism after completing the NCTJ diploma over the next year. As a northern girl from York, she is looking to take advantage of the ever-growing media in the northern cities such as Leeds and Manchester. 

The Ekphrastic Review and Lorette C. Luzajic

Lorette C. Luzajic is a writer and mixed media artist from Toronto, Canada. She studied for a Bachelor of Arts in journalism at Ryerson University, but always gravitated towards more creative pursuits, especially painting, art history and poetry. She has four independently published books of poetry: The Astronaut's Wife, Solace, The Lords of George Street, and Aspartame, and her poems have appeared widely in online and print publications like Rattle, The Fiddlehead, Grain, Geez, Peacock Journal, Taxicab, KYSO Flash, Cultural Weekly, Art Ascent, and more. Her award-winning visual art has been collected and exhibited worldwide, including Mexico and Tunisia, and has appeared in galleries, museums, banks, hotels, laundromats, nightclubs, billboards, a luxury jewellery company ad campaign, and numerous literary journals and poetry book covers. In 2015, Lorette founded The Ekphrastic Review, an online journal devoted entirely to literature inspired by art.

Lorette C. Luzajic, Wonder Woman for President

About The Ekphrastic Review
By Lorette C. Luzajic

The Ekphrastic Review is a rare literary journal dedicated wholly to ekphrastic writing. "Ekphrastic" is a Greek word that simply means "to explain." Along the way, it came to mean writing that specifically described a work of art. In contemporary times, it usually means "writing inspired by art." 

It's a very old form of writing that Homer, Plato, and Socrates used or talked about. Ekphrastic poetry was essential to the Romantics and the most famous example is probably John Keats' "Ode to a Grecian Urn." William Carlos Williams, Rainer Maria Rilke, Dante Gabriel Rossetti, and Charles Simic are just a few famous poets known for their ekphrastic writing.

When I started the journal, it was really meant to be a hobby blog where I collected and shared interesting paintings and poems for my own enjoyment. My own artwork is often inspired by poetry or literature, and my most satisfying writing is about art, so ekphrasis was the natural intersection for me between my major life passions. I really didn't anticipate becoming an important archive of ekphrastic literature or having a devoted readership. The blog started as "Ekphrastic: writing on art, and art on writing." I posted paintings I liked that featured text or people reading, and occasionally shared a poem about art. But we began to attract an audience of serious writers rather quickly, and so I changed the name accordingly to denote the importance of the genre to its fans. We become The Ekphrastic Review.

I believe very strongly that contemplation and writing is the most important way we can approach art and art history. Whether we study only the surface of an artwork, or delve into its backstory and the artist's biography, our experience of art is enriched. It's an intimate process of learning to look at art, to find new ways in. The process of ekphrastic writing deepens a writer's own practice, too - we learn new ways of thinking, reflecting, and asking questions. Our imagination is fired in unexpected directions. Memories surface, connections form. We are led by curiosity into different worlds, different stories.

We have been blessed to feature over 800 writers from all over the world. (We keep an alphabetical list of writers for easy reference- interested readers can see it here). 

Until now, we have focused on ekphrastic writing, but as we continue to evolve we want to feature essays or articles that are about the craft of ekphrastic writing, ekphrastic book reviews, interviews with writers about ekphrases, and also translations of ekphrastic poetry from other languages. Submissions of these categories is especially encouraged moving forward. We also accept poetry, prose and fiction submissions that meet our ekphrastic guidelines. See: http://www.ekphrastic.net/submit.html

We are especially pleased to have recently formed a prize nomination committee, so that we will able to nominate our amazing writers for Best of the Net and Pushcart awards from now on. We are also going to have our own annual best Ekphrastic nominations.

Finally, we have biweekly prompts - look for our challenges every other Friday. The art varies widely in order to inspire a range of work.

Here is a poem from our archives, inspired by Gas, a painting by Edward Hopper (USA, 1940):

Gas, 1940

Pegasus, a faded red, about to fly off
into the sky, which stretches above the dark 
pines, the rural road running by, a river,
all curves and meanders. The white paint’s
flaked off the wooden shingles,
and the Drink Coca-Cola! sign is stained
with rust, but the light in the window
casts a yellow glow on the cement.

I think my parents are about to cruise up
in their Buick, a big gray boat of a car,
the one that was up on blocks during the war,
and they have no idea what darkness lies
up ahead. She’s happy, leaning back 
on the plush seat, the night air riffling 
her page boy; he leans his arm out the window,
the ash of his cigarette eddying to the ground.

The lone attendant fills their tank, checks the oil,
wipes both windshields until they gleam, then returns
to his metal chair, his solitary vigil, keeper 
of the lighthouse, pilot of the night.

Barbara Crooker

This poem was previously published in Barbara Crooker's book, More (C&R Press, 2010). 

G. S. Fraser Prize: Winning Poems

The G. S. Fraser Prize is an annual poetry competition for students at the University of Leicester. This year's winner was Jane Simmons, and Colin Gardiner received an honourable mention. You can read their poems below. 

Jane Simmons is a former teacher/lecturer who has recently completed an MA in Creative Writing at the University of Lincoln. She is now a PhD student at the university of Leicester, where her research project is The Poetics and Politics of Motherhood, a practice-led exploration of motherhood through an environmental and political lens, engaging with the theme creatively and as it is treated in contemporary women’s poetry. As a reviewer for The Blue Nib literary magazine, Jane has built a significant publication history of writing about contemporary women’s poetry. A small selection of her own poems appeared in the March 2019 edition of the magazine. Her collection From Darkness into Light – poems inspired by the Book of Kells – was published in 2018. Further poems will appear in two anthologies to be published by Pimento Press, also in 2019: The View from the Steep, and Seasonal Poems from Pimento Poets. Jane regularly reads/performs her work in the Lincoln area. 

Never After

In that hard winter to end all winters,

small birds fell frozen from an Arctic sky.

My mother fitted bolts to all the doors

against the thieves who would come in the night,

stood astride the claw-footed bath, pouring

scalding water down the swollen, ice-bound pipes,

while her bitter tears fell, jittered, skittered

like hailstones across the bathroom lino

to ricochet off the peeling skirting-boards.

I scrabbled after them, strung them on a necklace,

worried at them through the wide-awake nights

when a witch’s wind wailed in the chimney

and the big, bad wolf howled outside our door.

Maternal Line

Emily, daughter of Jane, daughter of Ella,

daughter of Jane, daughter of Eliza-Ann,

daughter of Eliza, daughter of Mary,

but Mary – what of her, before her, before all.?

All daughters of county and countryside,

chalk hills, clay levels, and rolling wolds, 

flat fenlands, of big skies and wide vistas,

and circumscribed lives – following, following,

footsteps of mothers, footsteps of men

farm to farm, field to fold, hawthorn-time 

to harvest, harvest to hiring, hiring 

to hiring, hiring to work to work-house.

Mothers of the living, mothers of the dead,

mothers of sons tried at county assizes,

poor widows bought cloaks from parish funds,

all trudging from hardship to hardship,

through village after village after village,

medieval, Viking, Anglo-Saxon, and back –

through tons and hams, through thorpes and tofts,

through bys, along byways – to bye and beyond.

Colin Gardiner is currently studying an MA in creative writing at the University of Leicester. He is originally from Birmingham and now lives in Coventry.

High Street Blues

My closed-circuit eyes focus on the line
Of butterscotch clouds melting in plum skies.
In this new dawn, ginger tom stretches, yawns.
Indifferent to raspberry school-run horns.

Treacle traffic blocks my arterial streets.
Slap of church-bell heart attack thunders
Through the pale snooze of the cemetery.
A soundtrack to my Monday high-street blues.

Soft-focus on doorway shadows. Cardboard
Bed is shed in a methylated shrug.
Alcoholic Scorpio, water sign.
Sorrows drowned in a foam of Special Brew.

Quick cut to convoy of caffeinated
Parents, herding squabbling sisters and
Brothers through academy doors. Floors
Confected with litter and unicorn glitter.

Lens-flare flash on a green baby-buggy.  
Pushed neatly, discreetly crossing the road.
Narrowly missing the crates of fruit and
Vegetables. Chased by coarse market curses.

Flash cut to wild-haired earth mother, reeking
Of essential oils. With a wide-eyed child
In hand. Running from a Co-op spillage.
Calamity Jane denies any damage.

Lavender dusk falls. I wear my shroud of
Sodium. My myopic yellow lights
Flicker and strobe in the wake of rush hour.
Chip-shop breeze in greasy hair of tired trees.

Late-night edit of leopard skins and white
Shirts, who colonise safe spaces in a
Conga-line stagger. Not like Jagger. A
Smithereen carpet for Uber hangovers.  

Post-club fade on brazen foxes, frozen
Under broken swings. Howling lullabies.
Savouring scraps blown in ghost-town whispers
Of my decline. Camera now off-line.

 
The Canal Knows

I walked from the car. I was fly-tipping
the contents of my head onto the 
towpath. I followed the incantation 
of traffic from the flyover.
The dissonant notes and drifting motes were 
commas, suspended in the heat-haze.
A languorous puzzle. I joined the dots 
for a while. 

As I walked beside the stillness, I traced 
a liquorice line that trickled through 
the veins of the city. 
I came upon a minor hex, 
a prickling cloud of midges, seething in 
the prism of shattered rear-view mirrors.

The manspread of pylons played snakes 
and ladders with the long grass,
their power-stance loomed over scrapyards. 
I followed a winding ley-line, that led 
me through skeletons of warehouses,
the occult pulse of power stations,
and rows of drunken locks.

A clearing in the bushes revealed an 
aviary of cans and bottles.
Sunken treasure. A meth nest, best left 
alone.
Then suddenly a sodden pirate   
staggered into view. With laminated 
eyes, he was screaming at the sky,
‘They're frying up the sea life centre.’

I slipped away through weeds yielding to the 
mid-day breeze. Secret machines were sleeping 
by the disused railway track, deluded 
in their dreams of reactivation.

I paused by the paper-mill. A pair of 
geese eyed me warily. They were guarding
their little pool. They were celebrating
their union in oil-slicked water. 
I held up my camera. Their hissed curses 
chased me through the mire.

I stumbled through the bramble and the shade.
Before me stood a signal box, 
pebbledashed with pigeon shit.
Humming with mysterious potential.
A transmission down a copper wire. 
A broadcast to the wildflowers growing 
in lacunas of corroded coil sprigs. 

I heard the music in the echoes of 
the basin. A phantom wall of noise 
caressing curving concrete. Spaghetti 
intertwined. The tunnel whispered:
‘Have I seen you here before?’