Thanks to you all!
Monday, 20 November 2017
I'm so delighted that the book is now out, adorned with Emma Bridgewater's wonderful drawings. Thank you again to everyone who made it possible - and extra thanks to those who have already written to me with kind words and interesting thoughts about the poems. Next comes the "trade" edition, going into the bookshops on 30 November - but with slightly less fine paper and without those richly coloured…
Illustrations by Emma Bridgewater
Monday, 16 January 2017
"Why don't you ask Emma Bridgewater to illustrate it?"
That was the inspired question of my teenage son, Tom, who has become a bit of a poetry connoisseur. He held up the selected poems of Stevie Smith that he was reading, to show me an example of how simple little drawings can elegantly complement a volume of poems. Imagery is vital to poetry, so it is not surprising that there is a long and distinguished…
White Space & the Art of Slow
Friday, 11 November 2016
What’s the difference between poetry and prose? That’s a question I sometimes ask my students. I’d say there are three answers – and rhyme is not one of them (consider how much of Shakespeare, Milton and Wordsworth is written in unrhymed iambic pentameters, known as blank verse).
The first answer is Samuel Taylor Coleridge’s: on the evening of 12 July 1827, during a wide-ranging conversation that…
Teachers & Models
Friday, 21 October 2016
My Afterword in The Shepherd's Hut begins: "Like many people, I began writing poetry as a teenager – usually when in love, or repining with unrequited love, or trying to restore a broken heart." As you can imagine, those poems were really really terrible. It took a poet-teacher to make me begin to find a truer voice of feeling. Paradoxically, that came through listening to other people's voices. Those…
On the Shoulders of Giants
Friday, 21 October 2016
There was a debate in the eighteenth century about the extent to which Shakespeare was an "original genius" and the degree to which he relied on - or at least read - his predecessors. "Shakespeare wanted [lacked] art", said his grumpy contemporary Ben Jonson. "Warbling his native wood-notes wild", trilled John Milton in the next generation, implicitly contrasting his own deep classical learning with…
The Pleasures of Revision
Saturday, 15 October 2016
I remember writing my one-man play about Shakespeare for the actor Simon Callow: I banged out the first draft in two weeks flat and he said it was perfect. But we then spent two years rewriting it eighteen times over. It wasn't perfect: a first draft never is. On a smaller scale, something similar happens with poems. Writing my biography of Ted Hughes, I'd often find ten different manuscripts versions…