by Rahul Bery, Translator in Residence at the British Library for 2018-19. The British Library’s Translator in Residence scheme, supported by the Arts and Humanities Research Council (AHRC), offers a translator the opportunity to become part of the British Library’s multilingual community of staff, readers and visitors for one year. The exhibition, P.G. Wodehouse: The Man and His Work, runs until February 24th. 

One thing I feel not sufficiently covered by the BL’s otherwise wonderful mini-exhibition on the life and works of P.G. Wodehouse, currently running in the treasures gallery, is his appeal beyond the Anglo-American world, both in English and in translation. Wodehouse’s popularity in India is well-known: a childhood friend of my father’s – and an avowed superfan of Jeeves and Wooster, Blandings & co – once recalled the sage advice given them by the English teacher at their Himalayan boarding school: “Want to write good English? Read P.G. Wodehouse!” But far less has been written about his appeal beyond the Anglosphere.

Initial research on Google revealed, among other things, a thesis by one Petronella Stille which was quite rightly concerned with the question of how Wodehouse’s Japanese translator, Morimura Tamaki, had  “adapted such…expressions such as Right ho’, ‘By Jove’, ‘Tinkerty Tonk’, ‘Dash it’ or ‘What ho’?”  Well, in case you are curious, the answer for the first example is ‘Yoshikita’. She also handily highlights some of the unique features of Wodehousian prose that make it so enchanting and absurd, and also difficult to translate, including my personal favourite, the ‘transferred epithet’, that is, the ‘strained forkful of salmon’, the ‘astonished cigarette’ falling from Bertie Wooster’s lips. Overall, she acknowledges both the heroic attempts of the translator whilst exploring in depth just what it is about this brand of humour that is so hard to recreate.

Inspired by this, I moved on to the BL catalogue to find out what translations there were in the collections, if any. Starting with a pre-1973 physical catalogue, I found a smattering of translations into Esperanto (La Princo kaj Betty), Italian (Jim di Piccadilly) Polish (Wielce zobowia̢zany Jeeves), and –in keeping with the Indian theme- Marathi, before finally finding some in a language I could understand, Portuguese.

The front cover of Edmundo Paula Rosa's Portuguese translation of Leave it to Psmith (1938)

Isso é comigo! is the title of Edmundo Paula Rosa’s 1938 translation of Leave it to Psmith, originally published in 1923. From what I could tell, Rosa’s translation is fluid, and he seems to have had the skills to match not only the liveliness of the dialogue, but also the convoluted wit of Wodehouse’s descriptive prose. When translating Portuguese writing myself I often find myself marvelling at how the sentences can just go on and on, before then cursing the writer as I find myself torturously unpicking and reconstructing the sentences back into equally convoluted English. Perhaps, then, Portuguese is an equal match for Wodehouse’s opening, single-sentence paragraph:

“At the open window of the great library of Blandings castle, drooping like a wet sock, as was his habit when he had nothing to prop his spine against, the Earl of Emsworth, that amiable and boneheaded peer, stood gazing out over his domain.”

Rosa tackles this sentence admirably, adapting the wet sock simile, but preserving the structure of the sentence. But he leaves out ‘boneheaded’ entirely! And the quintessentially Wodehousian ‘Right ho!’ is paraphrased out of existence, leaving us with ‘Nesse caso, esta bem’ (“In that case, fine” or less literally, something like ‘As you see fit’). The meaning of ‘Right ho!’ in this context is more or less captured, but precious little else is. Rather interestingly, ‘your lordship’ is translated not into a Portuguese equivalent but into another English word, ‘milord’. One can only assume that for whatever the latter would have been more recognisable than the former to the Portuguese reader of 80 years ago.

There is, I’m sure, far more work to be done on this. But don’t believe people when they claim that Finnegans wake  or a similar tome is ‘untranslatable’. I suspect that even Joyce himself would have been flummoxed by ‘tinkerty tonk’!

A guest blog by artist and designer Leslie Gerry. To coincide with the forthcoming evening Artists’ Books Now: América Latina, Gerry talks about his fascination with architecture, urban spaces and street life. He charts these interests into his artist book Havana, which was made by a process of painting and printing digitally. Read more about Leslie Gerry's work here. A copy of Havana is held at pressmark HS.74/2301 and can be consulted in the British Library Reading Rooms.

Arriving at Havana in the dark, we made our way from the airport through dimly lit streets to a hotel overlooking Central Park. The following morning, I emerged, with cameras, sketchbook and map in hand, into a bright sunlit chaotic street full of vintage American cars spewing out clouds of fumes and bicycle taxis shouting out for business.

 

The first hurdle was coming to terms with the city, the topography, getting my bearings. It was daunting. I just started walking, trying to take it all in, gradually absorbing the atmosphere. The narrow streets of La Habana Vieja, the Old Town, colourful, vivacious, with crumbling tenements, colonial edifices and faded grandeur. A city with an earthy authenticity, full of contradictions. Cuban music would spill out onto the pavements from the many bars and cafes.

I generally limit my trips to a new city from 2-3 weeks, as that first exposure to a place is so intense; with fresh eyes and heightened senses, you see things locals are often unaware of and that you will not notice on subsequent visits. I try to capture this intensity in my paintings. Walking an average of 14 miles a day, I use my camera to “take notes”, recording the colours, light, shadows and patterns of Havana for future reference, often revisiting many of the streets or buildings several times in a day to view the changing light and shade.

Gradually a narrative of the city develops; subjects and compositions begin to form in my mind: a book starts to take shape. At this point I can relax a little and even start sketching in the open, although I find this increasingly difficult with the attention it invites.

At the end of my stay I felt totally exhausted, having absorbed as much as possible, and could only look forward to returning home with memories in tow.

Back in my studio, a long process of going through my photographic notes and sketches, then a year of painting begins. With a stylus and Wacom tablet, I paint on the computer in Illustrator.  Working only with flat areas of colour and no tone, I “cut out” the shapes with the stylus, arranging them on different layers, creating a collage. In fact, I first began working this way years ago by cutting out sheets of coloured paper with scissors, similar to the way Matisse created his paper collages. Starting by sketching a composition in blocks of colour as I would have done painting in oils and using photos as reference only, I gradually build up the painting with darker areas first and then lighter shades. The paintings end up as digital files; vector images which can be reduced or enlarged to any size and are then printed with a flat bed UV ink jet printer on a hand or mould-made paper.

 

All three images reproduced with the kind permission of Leslie Gerry

By Imogen Durant, PhD Placement Student working on the library’s contemporary British poetry pamphlets and artists’ books.

On Tuesday 11th December the British Library hosted the 10th Awards Ceremony of the Michael Marks Awards.

Luke Thompson of Guillemot Press won the Michael Marks Publishers Award. Andrew Forster, who introduced the award, highlighted the meticulous craftsmanship and innovate design of Guillemot’s publications, which particularly impressed the judges.

 

Luke Thompson giving his acceptance speech for the Publisher’s Award

Thompson highlighted the multisensory nature of the pamphlets that he produces when he explained that in addition to the unique look and rich texture, several of his pamphlets also have a distinctive smell, as their covers are made from the spent grain from a brewery.

 
Of And, by Keith Waldrop, and O. At the Edge of the Gorge, by Martyn Crucefix, both published by Luke Thompson at Guillemot Press

PR won the illustration award for her artwork in Zi-Zi Taah Taah Taah: The Song of the Willow Tit, published by Wild West Press, with poems by Steve Ely. The illustration award was introduced and presented by Sir Nicholas Penny, who gave a convincing imitation of a willow tit when announcing the pamphlet’s title.

Carol Rumens won the Poetry Award for her pamphlet Bezdelki, published by The Emma Press. The poetry award was introduced by Sasha Dugdale, one of this year’s judges.
 

Carol Rumens giving her acceptance speech for the Poetry Award

Bezdelki contains a series of elegies for Rumens’ late partner, Yuri Drobyshev. Rumens said that the pamphlet provided her with means of remembering Yuri, and allowed her to explore her own identity after his death.

In a poem entitled ‘Vidua’ (on p. 19), she says:

I wasn’t a bride
I wasn’t a wife.
I’m not a widow.

Rumens explained that the size of the pamphlet form provided a vehicle for her to capture the ‘Bezdelki’, or ‘small things’, such as a hat and an overcoat, which appear in these poems. Dugdale highlighted the strength of Rumens’ imagination and the breadth of the allusions in her poems, which Rumens demonstrates in this pamphlet by including poems inspired by Osip Mandelstam and one which is narrated in the voice of the Nubian Pharaoh Taharqa.
 

Bezdelki by Carol Rumens

The awards were presented by Lady Marks, who gave a warm personal introduction to the evening. She outlined the Michael Marks Charitable Trust’s aims of preserving art and the environment in the UK, and emphasized her belief in the poetry pamphlet as being vital form in the creative force of the country. Lady Marks also began the evening’s readings with some sonnets by her late husband, Lord Marks of Broughton, the founder of the Michael Marks Charitable Trust. 
Congratulations to Luke Thompson, Carol Rumens and PR, and to all of those shortlisted for the 10th Michael Marks Awards.

by Imogen Durant, PhD Placement Student working on the Library’s Contemporary British collections of poetry pamphlets and artists’ books. The Library will be holding a poetry reading on the 10^th December in celebration of the 10 year anniversary of the awards.  Poets include Christine de Luca, Omikemi Natacha Bryan, Charlotte Gann, Richard Scott and Phoebe Stuckes. You can read more about the event here.

The judging panel for the 2018 Michael Marks Awards have shortlisted five pamphlets and four publishers for the 10^th anniversary of the awards. The judges were:

• Sasha Dugdale, poet, translator and editor
• Rachel Foss, head of Contemporary Archives and Manuscripts at the British Library
• Declan Ryan, poet and critic
• Sir Nicholas Penny, art historian

Pamphlets shortlisted for the 2018 Michael Marks Awards for Poetry Pamphlets

The judges commented on the diversity of the submissions they received, and shortlisted the following pamphlets:

• Gina Wilson, It Was and It Wasn’t (Mariscat Press)
• Rakhshan Rizwan, Paisley (The Emma Press)
• Ian Parks, If Possible (Cavafy Poems) (Calder Valley Poetry)
• Liz Berry, The Republic of Motherhood (Chatto & Windus)
• Carol Rumens, Bezdelki (The Emma Press)

The judges highlighted the calibre of this year’s shortlist, praising Wilson’s “dry wit”, Rizwan’s “tonal sharpness” and Parks’ “musicality”. They felt that Berry’s poems had an “electric charge”, and commended Rumens’ “savage and wild but beautifully cadenced” work.

 Four publishers were also shortlisted for this year’s publishing award:

• Bad Betty Press – Amy Acre
• The Emma Press – Emma Wright
• Guillemot Press – Luke Thompson
• Tapsalteerie – Duncan Lockerbie

This shortlist includes both new publishers, such as Bad Betty Press, which was founded last year, and more established publishers, such as The Emma Press, which won the award in 2016.

Luke Thompson’s Guillemot Press is an example of a publisher which plays with the possibilities of the pamphlet form, while Duncan Lockerbie’s Tapsalteerie Press shows a commitment to eclecticism, highlighting the crucial space the pamphlet offers to new and emerging writers.

The winners of the poetry, publisher and illustration prizes will be announced at the awards ceremony at the British Library on 11^th December. The winning poet and publisher will each receive £5000, and the winning illustrator will receive £1000.

The winning poet will also be invited on a residency at the Harvard Centre for Hellenic Studies in Greece in the spring of 2019.

The Contemporary British Publications team at the British Library have created a new pamphlet to celebrate the 10 year anniversary of the Michael Marks Awards.This pamphlet features poems from each of the previous winners of the award, many of which were written during the poet’s residency in Greece. The winners of the illustration award have produced artwork in response to three of the poems in this pamphlet.The Michael Marks Charitable Trust and The Eccles Centre for American Studies have generously supported the production of this pamphlet.

Please join us in what promises to be an exciting evening of poetry and reflections on the success of the first 10 years of the Michael Marks Awards.

By Imogen Durant, PhD Placement Student working on the Library’s Contemporary British collection of poetry pamphlets and artists’ books. More information about the upcoming event,  Poetry Pamphlets Celebration, can be found here. 

Pamphlets are a crucial site for poetic innovation, allowing writers to experiment and offering readers cheap access to new work. Often small enough to fit into your pocket, pamphlets are the ideal way to sample new poetry from an unfamiliar writer. This frequently overlooked form has provided a platform for almost all of our established poets, from Ted Hughes to Carol Ann Duffy, at different stages in their career.

A selection of poetry pamphlets from the British Library’s collections.

To celebrate the poetry pamphlet and the important role that it plays in the UK poetry scene, The Michael Marks Award is hosted annually by The British Library, in partnership with the Michael Marks Charitable Trust, The Wordsworth Trust, the TLS and Harvard University’s Center for Hellenic Studies (CHS). Since it was founded in 2009, the awards have grown to include prizes for publishers and illustrators as well as for poetry. Despite the ease with which poetry can now be accessed online, the pamphlet form has flourished over the last decade, and the quality of the submissions to the awards each year attest to this. To mark the 10 year anniversary of the Michael Marks Awards, we will be hosting a poetry reading on the 10^th December, featuring shortlisted poets from previous years. Join us in hearing poems and reflections by Charlotte Gann, Christine De Luca, Richard Scott, Phoebe Stuckes, and Omikemi Natacha Bryan.  

 

Charlotte Gann is a writer and editor from Sussex. Poems have appeared in The Rialto, The North and Magma, among many others, and her pamphlet, The Long Woman (Pighog Press), was shortlisted for the Michael Marks Award in 2012. Since then, she published a full collection, Noir, with HappenStance – in 2016. This book – which grew from the seed of the pamphlet – asks: what are we to do with the darkness? The things, and people, often left silent and invisible. Originally, Charlotte studied English at UCL; much later, an MA in Creative Writing and Personal Development at the University of Sussex. By day, she works as an editor – currently, editing a monthly magazine based in her hometown, where she lives with her husband and two teenage sons.

 

Christine De Luca lives in Edinburgh where her working life was spent in education.  She writes in English and Shetlandic, her mother tongue.  She was appointed Edinburgh's Makar (laureate) for 2014-2017.  Besides several children’s stories and one novel, she has had seven poetry collections and four bi-lingual volumes published (French, Italian, Icelandic and Norwegian).  She’s participated in many festivals here and abroad.  Her poems have been selected four times for the Best Scottish Poems of the Year (2006, 2010, 2013 and 2015) for the Scottish Poetry Library online anthologies.  She has been a member of Edinburgh’s Shore Poets for 25 years. Christine is a linguistic activist, visiting schools, writing articles and taking part in conferences on mother tongue issues.  She is a member of Hansel Cooperative Press which publishes poetry and other literary writings in Shetland and Orkney.  She also enjoys translating children’s classics from Roald Dahl and Julia Donaldson into Shetlandic. 

Richard Scott was born in London in 1981. His poems have appeared widely in magazines and anthologies including Poetry Review, Poetry London, PN Review, Swimmers, The Poetry of Sex (Penguin) and Butt Magazine. He has been a winner of the Wasafiri New Writing Prize, a Jerwood/Arvon Poetry Mentee and a member of the Aldeburgh 8. His pamphlet 'Wound' (Rialto) won the Michael Marks Poetry Award 2016 and his poem 'crocodile' won the 2017 Poetry London Competition. Soho (Faber & Faber) is his first book. 

 

Phoebe Stuckes is a writer and performer from West Somerset. She has been a winner of the Foyle Young Poets award four times and is a Barbican Young Poet. She has performed at the Southbank Centre, Wenlock Poetry Festival and was the Ledbury Festival young poet in residence in 2015. Her writing has appeared in the Morning Star, The Rialto, The North and Ambit. Her debut pamphlet, Gin & Tonic is available from Smith|Doorstop books and was shortlisted for The Michael Marks Award 2017.

 

 

Omikemi Natacha Bryan is a writer, poet based in London. Her work has been published in numerous magazines including Ambit and Rialto and featured in Bloodaxe's Ten: poets of the New Generation. Her debut pamphlet poetry collection, If I talked everything my eyes saw, was shortlisted for the 2017 Michael Marks Award. She currently works as an associate writer for Vital Xposure theatre. 

 

Imogen Durant is a PhD student at the University of Manchester. She currently on a placement at The British Library, looking at connections between poetry and art in the Contemporary British collection of artists’ books and poetry pamphlets.

For this year’s National Poetry Day, we have been asked to think about the idea of change. Poetry’s ability to inspire its audiences makes it a powerful vehicle for change. And, while poems change us, poems are themselves changed as they are read and interpreted. Part of the joy of reading a poem is the creative freedom we have in interpreting it, and this process of understanding changes the poem’s impact on the world.

 During my placement with the Contemporary British Publications team, I have been thinking about the process of publishing: how publishing changes a text, and how a text might change the world it is released into. Focusing on the library’s collection of contemporary British poetry pamphlets and artists’ books, I have been looking at books and pamphlets which are often published independently and produced in small print runs. 

 One thing that has particularly struck me when reading these ephemeral texts is that even after being published, a text does not remain static. In the same way that poems can change their readers, so too can a poem be changed as it is reinterpreted in new forms and mediums. Many of the writers and artists in the collection return to texts that have inspired them. Collaborating with others, they creatively reimagine existing works, allowing the texts to change and develop in their afterlives. 

An example of this is Susan Johanknecht and Katharine Meynell’s Poetry of Unknown Words (2017). Written in response to Iliazd’s Poesie de mots inconnus (1949), which Johanknecht and Meynell describe as ‘a collective work by 23 poets and 23 illustrators – a male line-up with two women’, Poetry of Unknown Words takes inspiration from a wide range of texts and artwork to produce a ‘feminising response to Iliazd’.[1] The poet H.D.’s jellyfish metaphor in Notes on Thought and Vision (1919) provides inspiration for one section of the text. Printed on thin photo paper to resemble ‘the ‘flimsy’ typewriter paper in the HD Archive at Yale’, this section haptically reproduces H.D.’s metaphor through its use of ‘translucent & visceral’ material.[2]  

  

Section from Poetry of Unknown Words inspired by H.D.’s Notes on Thought and Vision

Structured as a series of loose pamphlets collected in a transparent box, the ‘unbound’ nature of Poetry of Unknown Words offers a new experience with each encounter, as the order of the sections changes through the process of reading. This structure demonstrates the way that sections of poetry and artwork can be changed by simply being contrasted or juxtaposed with other texts. In the same way that an exhibition highlights connections between items and images in order to construct a narrative, Poetry of Unknown Words reveals the ongoing relevance of historical texts by placing them alongside contemporary references.

Complete text of Poetry of Unknown Words

Johanknecht and Meynell play on this comparison to an exhibition by including a ‘notes & colophon’ section, which resembles an exhibition catalogue.

 

‘notes & colophon’ section from Poetry of Unknown Words

Highlighting the texts which inspired each section, the ‘notes and colophon’ section also changes the reader’s understanding of the sections of poetry and artwork by providing additional information. For example, the comment that Mary Wollstonecraft’s ideas in Vindication of the Rights of Women (1792) are ‘still clearly pertinent’ is supported, in this section, by a black and white photo of an activist on a Women’s March in 2017.

Photograph inside the ‘notes & colophon’ section

In Poetry of Unknown Words, Johanknecht and Meynell give new life to Iliazd’s form, responding to and reinventing texts by women which have been ‘hidden from history’.[3] In this way, they show that published works are not simply historical items but that they have the capacity to change, and be changed, by modern audiences and readers. 

 Photographs used with kind permission of Susan Johanknecht and Katharine Meynell.

 

 

[1] Susan Johanknecht Katharine Meynell, ‘Poetry of Unknown Words – for the book to come: process notes and reading (im)material scraps’

http://www.gefnpress.co.uk/about/essays&downloads/OEI%20Gefn_Press.pdf Accessed 01/10/2018.

[2] Ibid.

[3] Susan Johanknecht and Katharine Meynell, ‘Poetry of Unknown Words’ (London: Gefn Press, 2017).

by Gemma Meek, PhD student at Manchester Metropolitan University working in collaboration with the British Library, funded by the AHRC NWCDTP.  If you want to discover more about poetry pamphlets, you can search the library’s extensive collections. Or, you can support independent press through purchasing pamphlets on individual publisher’s websites. They are often very modest in price – ranging from £4-10. For a list of independent presses that publish poetry pamphlets visit: The National Poetry Library or Sphinx Review for a list maintained by Helena Nelson at HappenStance Press.

 

Exploring a doll’s house, beheading a saint and the collapse of an urban café. These are just some of the themes of the pamphlets shortlisted for the Michael Marks Award.

As the 10^th Michael Marks Award approaches, it might be a good time to reflect on the current poetry pamphlet scene. As a PhD placement student at the British Library, this involves rummaging through the Michael Marks shortlisted pamphlets. As well as speaking to the various individuals within and around pamphlet publishing – from academics, to poets, publishers and librarians. This post is a reflection on these explorations, and a brief tour of some of the surprises in the pamphlet field.

Reading the Michael Marks shortlisted pamphlets evokes a range of different experiences. Sometimes it can feel like entering another’s dream, walking across a landscape or noticing overlooked aspects of the everyday. Although it is hard to choose a favourite, there are some pamphlets I am particularly drawn to: Sarah Jackson’s Milk (2008, Pighog Press), which includes a strange and uncomfortable exploration of a doll’s house. Richard Scott’s Wound (2016, The Rialto), which contains some violent (and occasionally erotic) poetry – with one written from a witness perspective of a saint’s beheading. And David Hart’s rather long titled: The Titanic Café closes its doors and hits the rocks or: Knife, fork and bulldozer ultra modern retail outlet complex development scenario with flowers. (2009, Nine Arches Press) as a politicised ‘documentary’ style pamphlet, using photography and poetry to explore a Birmingham café closure.  

Traditionally, a poetry pamphlet is a small collection of poems printed and bound with staples (saddle-stitch), glue or thread in a slim publication (normally A5, but not always). Although pamphlets can vary in the number of pages, it is generally much thinner than a book – with the Michael Marks Award only accepting pamphlets up to 36 pages long. This bite-sized format emphasises a cohesive collection of poems, with their selection, arrangement and editing often developed through discussions between publisher and poet (unless, of course, they are self-published).

Many pamphlets are published by independent press, a term used to define small enterprises which produce a limited amount of publications annually, and are often considered an ‘alternative space’ to the mainstream or more established institutions (although there are always exceptions to the rule).

In the case of poetry pamphlets, the publishers are normally involved in the selection of work, its editing, design and marketing. Most presses have some form of selection criteria, whether that is based around the personal preferences of the publisher, or certain thematic/stylistic concerns. These can range from publishing a particular genre of poetry, to a focus on certain identities, dialects or works from particular regional areas.

Some presses have ‘house styles’, in which their pamphlets have uniform cover designs, size, font choices and branding – seen in some of the Smith/Doorstop or Tall Lighthouse Press pamphlets. Whereas others, such as Longbarrow Press or Pighog Press, produce more individualised, or unique pamphlets in accordance with the content and style of the work being published.

Presses also like to push the boundaries of what is possible with the pamphlet form. This is visible in David Hart’s The Titanic Café Closes Its Doors and Hits The Rocks (2009, Nine Arches Press), and in Devorgilla Bridge by poet Hugh McMillan and artist Hugh Bryden (2009, Roncadora Press) – an artist book turned pamphlet. Like This Press have been making ‘books-in-a-box’, with Rupert Loydell’s Tower of Babel (2013) containing a poetry pamphlet, an essay and various postcards of vibrant abstract paintings. There are also free, digital pamphlets which can be downloaded from Platypus Press and Neon Books, challenging a focus on tactility. And it is worth checking out the poetry pamphlets in University of Sheffield Special Collections by CURVD H&z, where spontaneous poetry is stamped on food labels and used envelopes. These various experiments might encourage poetry pamphlets to be seen as a ‘zone of activity’ rather than a fixed definition.[1]

There are also presses working to be more inclusive of the various voices, identities and performances occurring in the poetry scene – although much more work needs to be done in this area. As a recent report by David Coates from Ledbury Emerging Poetry Critics shows, not only is there is a lack of BAME writers being published, but there is also little critical review of the work. Chantelle Lewis also raised this concern when she ran an event at the library ‘Bringing Voices Together’, which aimed to highlight independent publishers committed to writers of colour.  

Rachel McCrum, The Glassblower Dances. Stewed Rhubarb Press. 

Some presses are also breaking tradition by exploring the relations and differences in written and spoken word. For example, Stewed Rhubarb Press shows a penchant for queer, feminist or minority voices– often publishing work that starts off as spoken word. Their pamphlets attempt to convey the poet’s performance through dialectical and formal experiments, to encourage the reader to perform the work.

Test Centre have also been working with spoken word and performance, publishing vinyl and cassettes with pamphlets, scores and books to highlight fiction, poetry and sound works. These multi-sensory publications are slamming, singing, humming and pacing words, whilst still giving the pamphlet form some exposure.  

Ian Sinclair. Westering. Test Centre.

As I come to the end of my placement, I hope to pull together these reflections on pamphlet experimentation alongside discussions with publishers on running an independent press. These reflections will be collated into a report, which will consider some of the following themes: definitions, working models, budgets, pamphlet quality and the place/benefit of pamphlet awards.

This report will be a collection of different voices – as I draw together the conversations and information individuals have shared. Although it is difficult to provide a cohesive account of the poetry pamphlet ‘scene’ in three months – I hope this report will generate further discussions about the future of pamphlet production.

 

[1] The idea of a ‘zone of activity’ was used by Johanna Drucker to explain the different experiments and forms within artists’ books. Drucker, Johanna. (2004) The Century of Artists’ Books. New York: Granary Books

 

 

 

A guest post by artist Liz Mathews describing the inspiration and process behind her recently acquired book, The Strand of the Thames, as part of World Refugee Day.  For more information about Liz Mathews' work, including Paper Wings -- a collaboration with Maureen Duffy -- see her gallery blog, Daughters of Earth.

 

Wednesday 23 June 1937
I went shopping, whitebait hunting to Selfridges yesterday, & it grew roasting hot, & I was in black ... As I reached 52 [Tavistock Square], a long trail of fugitives—like a caravan in a desert—came through the square: Spaniards flying from Bilbao, which has fallen, I suppose. Somehow brought tears to my eyes, tho' no one seemed surprised. Children trudging along; women in London cheap jackets with gay handkerchiefs on their heads, young men, & all carrying either cheap cases, & bright blue enamel kettles, very large, & saucepans, filled I suppose with gifts from some Charity—a shuffling, trudging procession, flying—impelled by machine guns in Spanish fields to trudge through Tavistock Square, along Gordon Square, then where? —clasping their enamel kettles.  -- The Diary of Virginia Woolf, Volume 5 1936 - 1941

Virginia Woolf's chance sighting of refugees from the Spanish Civil War in London at midsummer 1937 brought tears to her eyes - 'tho' no one seemed surprised' - and burnt on to her mind's eye an unforgettable image: children, women and young men driven from their country by war, trailing homeless, displaced, dispossessed through the Bloomsbury Square that was her home. This sight, with its implications and consequences, was to return to her vividly on another solitary walk many months later in the winter of 1939:

Tuesday 31 January 1939
Took the bus to Southwark Bridge. Walked along Thames Street; saw a flight of steps down to the river.  I climbed down—a rope at the bottom. Found the strand of the Thames, under the warehouses—strewn with stones, bits of wire, slippery; ships lying off the Bridge (Southwark? —no, the next to Tower Bridge [London Bridge]). Very slippery; warehouse walls crusted, weedy, worn. The river must cover them at high tide. It was now low. People on the bridge stared. Difficult walking. A rat haunted, riverine place, great chains, wooden pillars, green slime, bricks corroded, a button hook thrown up by the tide. A bitter cold wind. Thought of the refugees from Barcelona walking 40 miles, one with a baby in a parcel.

These two entries from her extraordinary diary - both so observant of detail, so evocative of the physical setting and of her state of mind - stayed with me, and I was reminded of them in Gordon Square one afternoon some 70 years later, like Woolf combining shopping - but not for whitebait - with a walk through Bloomsbury observing the London summer.  We, too, met small groups of refugees, some aimless, some more purposeful: one grizzled man sitting on a box playing a melancholy Balkan air on a battered accordion, one old woman in black sitting on the pavement outside the Co-op, her hands joined in the international gesture of supplication, one young man on a bench in Gordon Square who, when we'd given him some change, asked hopefully if we would buy him a mobile phone, another older man - speechless, wordless, with hunger and despair in his eyes.

Virginia Woolf's discovery under the warehouses was the inspiration for my artist's book, Strand of the Thames, which has recently been acquired by the British Library. In setting this text, the sense of history repeating itself was very strong for me. My partner Frances and I are inveterate mudlarkers, and the Thames low-tide beaches between Waterloo and Southwark Bridges have long been a favourite haunt, yielding a rich and often rather pungent harvest of driftwood, eternal claypipes, button hooks, and yes, the green slime that Woolf observes, along with the occasional shard of ancient terracotta or exquisite porcelain.

One sunny winter's day in 2009, we followed Virginia Woolf on that sacred bus-route and then in her footsteps, choosing our time so that the river would be at low-tide, seeing the sights that she saw - still all there - and reminded inevitably of the other sight she had recalled in that place - perhaps by the river itself, running through time and linking all our days. I photographed each stage of her journey, trying to catch something of the transient light on the water, the darkness of the slippery flight of steps, the ships lying off the bridge, the solid ironwork of the bridge itself, the crusted warehouse walls, just as weedy and worn, the great chains, the immensity of the wooden pillars and the curious sense of separation from the bustling world of the city. We looked for and found the bits of wire, broken glass, stones and chains. We slipped on the ancient wharf stones, smelt the green slime, flinched at the bitter cold wind, and felt ourselves at some unimaginable distance from the clear-lit city we could see through the wooden pillars. 

And at the end of our walk together, with the winter sun low on the water silhouetting a couple deep in talk with their patient dogs waiting beside them, we too thought of the refugees, Virginia Woolf's fugitives, homeless exiles with their precious burdens and their useless well-intentioned charity kettles fleeing from machine guns to our home city, and as she says - then where?

Back home in my studio, I translated the photos into 15 grisaille watercolours on sheets of rough handmade paper approximately 21 x 30cm. To draw the material presence of the river itself into the views, I mixed the watercolour paint with Thames water, drawn in a jam-jar from the river as Turner did, and I used a small driftwood stick - picked up on the strand, carved by the tides into a rudimentary nib - as my pen, dipped in ink made from the same paint and Thames water. I looked for individual textures, flaws and quirks of the handmade paper pages that I could use to reflect aspects of the text - for example, the page with the strewn-about stones and bits of wire has a gnarled knotted fibre within the fabric of the paper that I just highlit with paint to embody a bit of wire, so that you can feel it with your fingertip; similarly the textured paper surface produces either a flickering effect of light on water when painted with a fairly dry brush, or the chiaroscuro of stones and rubble when painted with a wet one, as the liquid paint puddles darkly into the shadowy hollows between small raised clumps of paper-pulp. (This kind of paradoxical effect that materials can produce unexpectedly is the sort of thing that fascinates me - I enjoy collaborating with materials in making a physical embodiment of the words, allowing the materials and the words to do their own thing.)

After I'd made the paintings and lettered them, I constructed the lettered images into a battered book made from black handmade paper like our grandparents' photograph albums with their precious wartime portraits and sepia views. And then I made a quarter-size (10 x 15cm) facsimile edition (limited to 20 signed and numbered copies), identically constructed, with the grisaille images re-translated back into black and white photographs, fixed to the album with acid-free photo-corners. The original and one of the edition copies is now in the British Library's permanent collection. Most of my work is one-off, but a few of my artist's books lend themselves well to editions; and this is one of them, where the photo-album concept gives a reference point for both the original and the edition, and a uniting rationale. As an artist, my concern is to make work where form and concept are fully integrated, where words and images are as one, inseparable, rather than co-existing as text and illustrations. Typically, this results in books and artworks whose individual material form is of its nature an expression of the text and therefore difficult or impossible to reproduce; but I do like to enlarge the scope of my books in terms of audience and affordability where it's possible to do so without compromising their integrity, particularly where, as here, the edition adds another aspect to the original, and enhances the meaning of the work.

I have shown Strand of the Thames at many of the artists' book fairs I've been to in the last 10 years, each time hoping that it won't still seem as though nothing changes - that we will have found an answer better than the metaphorical enamel kettles. And every time, with each audience, this book really strikes a chord with people, and together we say again 'Nothing changes', and we honour Virginia Woolf for her engagement with her world, her refusal to ignore the plight of her fellow humans, her recognition of their humanity and her un-fatigued compassion in weeping for dispossessed exiles seeking refuge in Tavistock Square.