This is a sequence of nineteen experimental odes. The sequence offers a documentation of the last year in the form of a fragmented, multi-perspectival 'public voice' poetry. With its roots in the socio-historical context of the pandemic - from stripped supermarket-shelves or clapping for the NHS workers through to the Trump presidency and the closure of Philip Green's Arcadia - the sequence opens onto post-apocalyptic, dystopian fantasies. The locations range from warehouses on the Essex estuary and deserted university campuses to barbecues in Portland and bush-fires in Australia, registering the new awareness of the fragility of supply chains and a larger awareness of climate catastrophe. At the same time, the sequence also explores the experience of lockdown through the evocation of a series of enclosed spaces as if the experience of Covid were a bunker, a submarine, a space-station, a colony on Mars, while also attending to the necessarily mediated experiences produced by lockdown and the corresponding reliance on the technologies of video-conferencing, Instagram, zoom.
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Robert Hampson was formerly Professor of Modern Literature in the Department of English at Royal Holloway, University of London. He is currently Professor Emeritus at Royal Holloway; Research Fellow at the Institute for English Studies, University of London; Visiting Professor at the University of Northumbria; and on the faculty of the New School of the Anthropocene. He has been involved in the field of contemporary innovative poetry since the 1970s as editor, critic and practitioner. During the 1970s he coedited the magazine Alembic with Peter Barry and Ken Edwards. He coedited (with Peter Barry) the pioneering volume New British poetries: The Scope of the Possible (Manchester: Manchester University Press, 1993); and, more recently, has co-edited (with Will Montgomery) Frank O'Hara Now (Liverpool UP, 2010); (with Ken Edwards) Clasp: late modernist poetry in London on the 1970s (Shearsman 2016); and (with cris cheek) The Allen Fisher Reader (Shearsman 2020). His own poetry has appeared in a range of magazines including Cid Corman's Origin and Alan Davies 100 Posters in the 1970s. More recently, he has published poetry in The Cafe Review, Long Poem Magazine, Junctionbox, Molly Bloom, Mercurius, parmenar, The Wolf, tentacular magazine, and Rewilding: an ecopoetic anthology (2020). His early booklets included degrees of addiction (Share 1975); How Nell Scored (Poet and Peasant 1976); a necessary displacement (pushtika 1978); a feast of friends (Pig Press 1982); A City at War (Northern Lights 1985); Nevsky Prospekt (with David Miller) (hardPressed poetry 1988); a human measure (hardPressed poetry 1989); unicorns: 7 studies in velocity (pushtika 1989); dingo (with Gerlinde Roder-Bolton) (pushtika 1994); seaport: interim edition (pushtika 1995); a new hampshire sampler (with Gerlinde Roder- Bolton) (pushtika 1996); and the artist-book, C for Security (pushtika, 2001). Assembled Fugitives: selected poems 1973-1998 was published by Stride (2001). His best-known work is seaport (Shearsman, 2008). More recent publications include pentimento (pushtika 2005); an explanation of colours (Veer, 2010); the long view / wish you were here (artist-book with Leena Nammari) (2011); out of sight (Crater Press 2012; reworked disasters (Knives forks and spoons 2013); and Liverpool (hugs &) kisses (with Robert Sheppard) (ship of fools / pushtika 2015). He taught with Redell Olsen on the MA in Poetic Practice at Royal Holloway. For many years he ran the TALKS series that Bob Perelman set up in London, and has been co-running the Contemporary Innovative Poetry Research Seminar (which replaced it) ever since.
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Soft cover. Etat : New. 1st Edition. This is a sequence of nineteen experimental odes. The sequence offers a documentation of the last year in the form of a fragmented, multi-perspectival 'public voice' poetry. With its roots in the socio-historical context of the pandemic - from stripped supermarket-shelves or clapping for the NHS workers through to the Trump presidency and the closure of Philip Green's Arcadia - the sequence opens onto post-apocalyptic, dystopian fantasies. The locations range from warehouses on the Essex estuary and deserted university campuses to barbecues in Portland and bush-fires in Australia, registering the new awareness of the fragility of supply chains and a larger awareness of climate catastrophe. At the same time, the sequence also explores the experience of lockdown through the evocation of a series of enclosed spaces as if the experience of Covid were a bunker, a submarine, a space-station, a colony on Mars, while also attending to the necessarily mediated experiences produced by lockdown and the corresponding reliance on the technologies of video-conferencing, Instagram, zoom. The book also includes a CD recording of the Poems Covodes 1-19 done in lockdown, over zoom calls; Robert Hampson recited in his own living room and the Cellist, Joanna Levi, recorded a commissioned Composition 'Suite 1 for Solo Cello' with a relatively simple desktop microphone in her study. This quality lends a rawness to the collaborative process - again, part of the new and altered day-to-day life that restricted us in Covid time. For Levi, this project allowed a consuming interest in Bach's music to fuse with Hampson's inspirational poetry. She conveys the sense of monotony and anxiety engendered with a wandering tonality, that takes Bach's Suites as a spring board. Signed by Author(s). N° de réf. du vendeur ABE-1661941478450
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