Tag Archives: Claire Trévien


Lunar Poetry #1

-Reviewed by Zara Raab- Lunar Poetry earns its name in this first issue, full of tunes and nonsense, word play and wit (right down to the names of the poets), weddings gone awry and stanzas sent topsy-turvy. Lesley Burt’s “Turning the Picnic Tables” recreates in four tercets Manet’s famous painting (Le Déjeuner sur l’herbe) with…


The Book of Scented Things: 100 Contemporary Poems about Perfume (ed. by Jehanne Dubrow and Lindsay Lusby)

-Reviewed by Claire Trévien- The Book of Scented Things: 100 Contemporary Poems about Perfume, edited by Jehanne Dubrow and Lindsay Lusby, is the first of a series of trade paperback anthologies to be published by the Literary House Press, the literary arm of The Rose O’Neill Literary House based in Washington College. ‘Anthology’ etymologically means…

TWM (1)

The Word Museum by Richard Moorhead

-Reviewed by Claire Trévien- Richard Moorhead has a reputation for being a poet with a taste for poetic sequences particularly well-suited to the pamphlet format. His first pamphlet, The Reluctant Vegetarian, was a sequence of poems presented as if they were dictionary entries, defining and redefining fruit and vegetable. His new endeavour, The Word Museum, upgrades…


Rumpelstiltskin’s Price by Susanne Ehrhardt

-Reviewed by Claire Trévien- A wonderful line in Susanne Ehrhardt’s biography states that ‘she had been living with the English language for twenty years before the first poem arrived’. This is a relevant fact not because, as she writes later ‘the odd mistake / lead me creatively astray’, but because foreigness of place, of tongue,…


The Bastille #2 (Summer 2013)

-Reviewed by Afric McGlinchey- The Bastille is an independent literary magazine published by the non-profit organization, Spoken Word, in Paris.  This journal gives us more than a ‘vertical understanding of poetry’, as Heaney put it. Here we have tripwire imaginations letting loose on the page, doodles and caricatures, gravity-free, tipsy, somersaulting poems. There’s diversity too…

profile pic

In conversation with Ira Lightman

-In conversation with Claire Trévien- Ira Lightman makes public art around the UK, regularly appears on BBC Radio 3’s The Verbs, writes and performs, and spent a lot of 2013 tracking poetry plagiarism. Claire Trévien: It’s been a busy year for you – it began with the Christian Ward scandal – you quickly became known as the ‘poetry sleuth’…


In conversation with Helen Ivory

-In conversation with Claire Trévien- Helen Ivory is a poet and artist.  Her fourth Bloodaxe Books collection is Waiting for Bluebeard (May 2013) She has co-edited with George Szirtes In Their Own Words: Contemporary Poets on their Poetry Salt 2012.  She teaches for the Arvon Foundation, The Poetry School and mentors for the Poetry Society. She edits the webzine Ink…

Rising #58 and Poetry Weekly #1

-Reviewed by Jennifer Edgecombe- Poetry Weekly and Rising are two A5 poetry magazines. They look very similar with respect to form and content, but soon begin to differ. Cult magazine Rising is on issue 58 having been first published in 1993 whereas Poetry Weekly launched its first issue in April 2013. Poetry Weekly is, as…

Interview with Dan Holloway

1. You’ve just launched 79 rat press as part of the literary exhibition Nothing to Say, can you tell me a little bit more about what inspired both these things?

79 rat press has grown organically out of eight cuts gallery, which I have run since 2010, and under which umbrella I’ve published some wonderful books that have had remarkable critical success for such a tiny outfit, such as Penny Goring’s The Zoom Zoom and Cody James’ The Dead Beat. It also hosts The New Libertines and all sorts of other events.

I think I have become aware though that I can make most of a difference through very sharply focussed, very small events and editions. I also wanted to get back to my original intention with eight cuts gallery of something literary based on a model from the art world. As you probably know, I am obsessed with both Modernism and 20th century art, culminating in the Young British Art movement. Tracey Emin is the biggest influence on my own writing, and what I have felt for a long time is that to get people truly talking about what literature can do, we need more events like art’s Freeze and Sensation, and more figures like Jay Jopling and Nick Serota to push challenging literature into the public consciousness. I think the last time that really happened was in the 60s and 70s when Carmen Callil launched Virago and Lawrence Ferlinghetti brought the Beats to the world through City Lights. I’ve always thought of myself as some kind of very weak shadow of Ferlinghetti, the guy behind the scenes who writes himself but whose pleasure is bringing other people to the world.