September 26, 2006

Concrete Poetry

From Clemente Padin

This invitation is directed not only to the great community of visual poets of the whole world but and above all to specialists and lovers of poetry. At the end of this year, 2006, we will celebrate 50 years of the birth of one of the most important tendencies of visual poetry of the world: we refer to Concrete Poetry.

In December, 1956, the historic Art Concrete expositions began in Brazil giving birth to one of the most important artistic movements in the world in the second half of the XX century. The participant poets in those expositions were: Decio Pignatari, Augusto and Haroldo de Campos, Ronaldo Azeredo, Ferreira Gullar and Wlademir Dias-Pino. The first exposition took place in San Pablo, from 4 to 18 December, in the Art Modern Museum (MAM) and the next one was inaugurated in Rio de Janeiro, in February 7, 1957, in the vestibule of the Ministry of Education and Culture of Brazil.

Concrete Poetry arose, simultaneously, in Europe and in Latin American: in 1952 Noigandres group was founded in Sao Paulo; in 1953 the manifesto “For Concrete Poetry” of Oyvind Falström appeared in Sweden and in 1953 “Constelaciones” of Eugen Gomringer, the Swiss-Bolivian poet, secretary of the Superior School of the Form of Ulm, Switzerland, heiress of the German Bahaus, appears in Switzerland. Gomringer and Pignatari were the one who coined the term Concrete Poetry in 1955.

In homage to these outstanding events we invite you to send us notes, commentary, bibliography, photos, poems or documents that remember those historic moments to form a body of knowledge and works in relation to one of the last poetic movements we have known. Send material to Clemente Padin´s email (

Subsequently, around November 2006, the selected material will be added to BOEK861, the website of Cesar Reglero, at the time of the Colloquium on the 50 anniversary of concrete poetry that will be carried out in the University of Stuttgart, Germany, from 23 to 26 November, 2006.

The pictures and poems should be no larger than 300 KB in JPEG files of high resolution and, the texts on DIN A4, or letter-sized pages in Word files. Deadline for
receipt: 10 November 2006.

June 14, 2006

The Keats Shelley Prize

Writing about web page


THE KEATS–SHELLEY MEMORIAL ASSOCIATION invites applications for the Keats–Shelley Prize 2006. Sponsored by the Cowley Foundation and The School of English , University of St Andrews .

2006 Chairman of Judges: Jonathan Keates, – author and critic. Judges’ Panel: Matthew Sweeney, John Hartley Williams (Poetry). Professor Peter Kitson, Dr Seamus Perry (Essays).

Two competitions, open to all: an essay and a poem, £3,000 IN PRIZES, the winners’ work to be published.

The essay can be on any aspect of the work or life of Keats, Shelley, Mary Shelley or Byron. It should be of 2,000–3,000 words, including quotations, but not footnotes. Preference will be given to entries showing originality of thought and written in a clear and accessible style. All sources must be acknowledged.

The poem must be original and unpublished. The subject: `An appalled fascination with science' – as in Mary Shelley's Frankenstein – is a common Romantic theme. Write a contemporary poem, avoiding pastiche or parody, entitled `The Experiment'. It may be of any length up to 50 lines.

Other conditions of entry:

1. Two copies of your entry should be sent to Jill Gamble, KSMA Competition Secretary, School of English , The University, St Andrews , KY16 9AL , Scotland . Please enclose an SAE if you want your entry to be acknowledged. Copies of entries cannot be returned.

2. All entries must be received by 30 June 2006 . Prize winners and a runner–up in each category will be notified in August. There will be a presentation ceremony in London in October. The winners will be announced at that time on the website of the Keats–Shelley Memorial Association,

3. You may enter both categories but only once. There is a fee of £5 sterling for a single entry, £3 for a second entry in the other category. Payment must be enclosed, made by cheque, postal order or international money order in favour of the Keats– Shelley Memorial Association, or by sterling bank notes. All first–time serious entrants who are not already Friends of the KSMA will become Honorary Friends for one year (subscription normally £12) receiving the annual Keats–Shelley Review, free newsletters, invitations to events, etc.

4. All entries must be typed or wordprocessed on A4 or foolscap paper, and attached with a paper clip to a typed sheet giving the following: your name, address, a contact telephone number including a summer contact number, the title of your essay or poem, and how you heard about the prize. Your entrance fee should also be attached. Please do not use staples.

5. Essays and poems must be in English and your original and unpublished work, and must not have been submitted to us in a former competition. Copyright remains with you as author, but your entry will be deemed to give consent to first publication in journals nominated by the Keats–Shelley Memorial Association.

6. The submission of an entry will be deemed to indicate full acceptance of the above conditions of entry to the competition.

May 05, 2006

Call for Submission: Penned in the Margins


Emerging Voices is a new imprint from contemporary poetry producer penned in the margins devoted to promoting the freshest talent out there. We’re currently seeking submissions for our first major publication, an anthology for younger (and young–at–heart) poets. This won’t be a ‘one page each’ book; we want to work closely with the best new writers and give them the space they deserve.

Why bother?

We know how hard it is for younger writers to get exposure. They often get a bum deal from publishers who grumble about ‘development’, ‘finding your voice’ and ‘markets’. We’re putting together this anthology so that talented new poets can get a foot on the ladder, and we’ll make sure it gets under the noses of the right people.

Who can enter?

You may be few in years but you’ll be a serious writer, committed to creating new and exciting work. You may have had work published in magazines or have won competitions; you may be a regular performer at poetry gigs. You may even have a pamphlet or mini–collection out there (but not a full first collection). You’ll be between 16 and 28 years of age and writing in English.

What next?

At this stage we want to see five poems max – choose your best work, the stuff that represents you as a poet, and don’t worry about being consistent in style or sending a coherent sequence. The most important thing is that your work leaps off the page and bites us in the ass. Please also include a brief biography, stating your age, location and any relevant accolades.

Email your submissions as Microsoft Word attachments to and if you want any more information you can call Tom on 020 7375 0258. All work should be in by the end of July.

More information

To find out more about penned in the margins visit and don’t forget to sign up to the mailing list to keep up–to–date with our latest news and events.

April 20, 2006

Online Past Papers

Writing about web page

Students in my groups, please see the link above for past papers online.

March 03, 2006

CS133: Regarding Peer Review

After our peer review today, I want to outline a number of tips and issues in writing your final piece for me this week.

Have a punchy beginning and a punchy conclusion. Plesae don't start with wishy-washy phrases such as: 'The internet is an amazing phenomenon' or ' Lots of people today are interested in software patents'. This kind of sentence is a waste of space. You could begin with:

*a quotation: ' "The interet is the most dangerous threat to the world security today". These are the words of J.Smith, who…'

*a comparison: e.g. software copyright and book copyright.

*taking a stance on a topic.

*outlining a situation.
Always ensure that you state your purpose and objectives in the opening section too.

Avoid 'I believe', 'I think', 'It is clear that', 'It seems that'. Occasional use of 'I argue' should be OK.

Make sure that your piece is persuasive. Many of you used techniques this week that were outlined in our seminar on oral and presentation skills. Be careful when writing your final draft – some subtle techniques such as the paradox, accumulation and occasional use of rhetorical questions can be useful, but too much rhetoric can be read as being heavy handed.

If you have any further questions please post them here.

February 17, 2006

Announcement: AVOCADO LAUNCH

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Saturday 18th February

The launch of Avocado magazine issue #5.

The only poetry magazine of lasting merit produced by Warwick students! Featuring a world exclusive interview with renowned Australian poet Les Murray.

Plus poetry readings, live music and photographic installations by Cov-based media collective Dialectic Arts.

6–8pm, Way of the Goose, 32–42 East St, Coventry (5 minutes walk from Pool Meadow towards the old football stadium). £2 entry to include magazine. Refreshments provided.

February 16, 2006

Modes of Writing: Notes After Workshop Week 7

1. Ideas for topics:
•Freedom of speech.
•Religious extremism.
•Environmental issues.
•History of the university.
•Media influence.
•Corporate Enterprise.
•Educational issues.
•Gender issues.
•Racial issues.

2. Link to Pinter essay: here
Also you can watch a recorded version here

Modes of Writing: Reminder about the Final Portfolio


The final assignment is a portfolio of original writing and an essay, each of 4,000 words. Together they account for 60% of your final mark for the module. The portfolio is of your own creation, and may mix genres, but play to your strengths. The essay usually takes the pattern given below by Maureen Freely. All word counts are approximate!

Note: Please word-process all your work.

1. All work in the portfolio must be original and must have a word count of no less than 4,000 words. It can consist of poetry OR fiction OR Life Writing OR non-fictional prose OR it could combine two genres or three genres or four genres. The best portfolios tend to combine two to three genres. Submitting a 4,000 word portfolio of poetry would be exceptionally demanding! Play to your strengths. What you choose to submit is as much a mark of your discrimination as a writer as how well it has been written.

The 'super essay' should consist of 4,000 words. We advise the following 'shape' for this essay.

(With approximate word counts).
Note: This was written by Maureen Freely.

I. Portrait of the Artist in Early October (300 words). Describe yourself as you were then.

II. Have your ideas about poetry changed over the year? If so, how have they changed? If they haven’t changed, what are they? Give examples. (500 words)

III. How would you define autobiography? How would you define non-fiction? What sorts of autobiography/non-fiction interest you the most? Where would you draw the line between fiction and autobiography? Give examples. (500 words)

IV. Can fiction be more truthful than non-fiction? If so, why? If not, why not? What makes fiction ‘authentic?’ When has your writing felt ‘fake’ and when does it ring true? What can you conclude from this? Give examples. (500 words)

V. What is the difference between a formal essay and a personal essay. Give examples. (500 words)

VI. Tell me what you’ve learned about the following: (100 each)
1. point of view
2. voice
3. style
4. narrative framing
5. inventing characters
6. dialogue
7. investigation

VII. When you look at the writing you have done this year, what are your thoughts? Where would you like to go from here? (500 words)

VIII. Write an extended metaphor that describes how your imagination works. (500 words)

Modes of Writing: Outline


Unit 4 Outline

Weeks 17–20 will be spent on non-fictional prose taking in elements of:
1.Description and illustration.
2.Argument and persuasion.
5.Interviewing and profiling.

Each week you will be expected to research an aspect of your topic and you will present your findings and later your writings to the class LIVE. You will be expected to present your findings as if they are LIVE news and you will need to persuade your audience that your project is a subject worthy of investigation and of reading.

Week 7:Types of Articles, House Style and Audience
Week 8:Argument, Rhetoric, Persuasion
Week 9:Practicalities
Week 10: Presentations


The product of the course will be an article in the high journalistic style of literary non-fiction, as typified by essays in the London Review of Books or The Guardian (Saturday). The subject will be something that directly affects university life.

Your submitted work will include: an investigation of 1,500 words and 500 word informal essay on why you chose the subject and what you were hoping to explore and prove.

DEADLINE FOR SUBMISSION: Monday, Week 21, 12 noon.
You should also regularly read the book pages of major national newspapers especially the London Review of Books, Saturday Review section of The Guardian, also perhaps the review pages for The Independent, The Independent on Sunday, The Sunday Times, The Observer. These are available in the library adjacent to the issue desk. By studying these items, you can also gain a great deal of useful research for your final 'super-essay'. For the super-essay, also see The Paris Review Interviews (various editors and publishers; Library SRC) and Writers at Warwick tapes (Library SRC).

CS133: Assignment 3: Article Critique



*“Modern communications-Transforming our lives”

*“Time to say goodbye”

*“The Soldiers’ site”

*“Let the PC entertain you”

*“Fair Cop”

*“PC spies report on your every move”

*“Vigilantes on the net”

*“Wi-Fi finds the way”

You will each be given one of the articles and asked to write a critique of its central argument in the following format:


*Name of author and title of article

*General overview of the argument

*Thesis indicating your perspective


*Highlight the major point in the work

*Provide detailed analysis of the logic

*Interpret the supporting evidence

Provide an overall interpretation critically assess the value, worth, or meaning of the article, (both negative and positive).

This assignment is due during the seminar of Week 8

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Creative Research Blog

Please note that I also have a blog for ideas and research at:

Women Writing Rape

See this new blog set up to coincide with the symposium, Women Writing Rape: Literary and Theoretical Narratives of Sexual Violence

Practice of Poetry Seminar:

Thursdays 9 – 12 noon in the Mead Gallery, Warwick Art Centre

REMINDER: When bringing poems to be workshopped in class, it would be great to bring extra copies so that we can all see the poem on the page.

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