Writers Kingston event #58
December 6th 2022
Town House Building
Celebrating the work of Stephen Watts
Stephen Watts, simply put, is one of the UK’s most extraordinary, influential and respected poets of the last forty years. His remarkable works, and his commitment to his writing, stands as an example to generations of poets that follow him, in his beloved London, and beyond. To mark the publication of Journeys Across Breath from Prototype Publishing, which gathers all of Watts’ published works between 1975 and 2005 – as well as a number of unpublished pieces appearing for the very first time – this event celebrates his works and life through readings by the poet himself and his peers. https://prototypepublishing.co.uk/product/journeys-across-breath/
With readings from Stephen Watts, Cristina Viti, Rory Cook, SJ Fowler, Adriana Diaz Enciso, Chris Gutkind, Dominic Jaeckle, Vicki Kaye.
|Adriana Diaz Enciso|
In addition this event celebrates the continued brilliance of Sampson Low, our publishing house partner at Writers Kingston.. The work of the press has bolstered the careers of dozens of students and local writers since we began our partnership with them in 2018 and continues on, thankfully for us, into 2023. To represent the press, launches from Lucy Furlong and Martin Wakefield. https://sampsonlow.co/wck-pamphlets/
Lucy Furlong - Amniotic City
11 years after its first publication, Lucy Furlong revisits Amniotic City in a series of new explorations, once again poking her nose in the nooks, passageways and liminal spaces therein. She discovers new terrain and new stories in this second edition of her poetry map.
Martin Wakefield - Emptpy Poems
“Martin Wakefield’s ravishing sequence of ‘Emptpy Poems’ is elegant, spare and haunting. And haunted. The spectral traces of Apollinaire’s poems are still just visible beneath Wakefield’s enigmatic creation. There seems to be a strange attraction between the poems on the surface and the ghost poems beneath such that, in places, the surface poems shiver into italics to mirror the font change of the trace poems. Sometimes this becomes an ‘interference’ caused by the spectral poems, mysteriously pushing at words within the poems above, or pulling them into new spellings, compressions and splittings. This resonates powerfully with the operations of the mind itself and how it responds to the energies and interruptions of its memories, its subconscious, and its physical embodiment, as well as reflecting on the way all language is similarly shaped and inhabited by ghosts.” — Susie Campbell