Based in Bellingham, Washington Empty Mirror is a literature journal that started out with a Beat Generation focus. It’s named after an early collection by Ginsberg, which I love. The cover of the Ginsberg collection is superb. I also admire what Empty Mirror editor Denise Enck says about the implications of that title:
Strix is a new magazine based in Leeds, with stunning production values – it really is a thing of beauty. I was very heartened that a poem drafted only a few weeks before in the exceptionally inspiring Writers’ Centre Norwich workshop ‘Dream and Vision’ led by Sean O’Brien was picked up for Strix issue 2. I’m in awe of the cover design too – see if you can figure out the elements that make up the owl.
It’s always a joy to be involved in a 26 project. They’re great at coming up with inventive and intuitive ways to tap into your writing nerve. The latest project I’ve had the pleasure of being part of is ‘Memory Maps’ for the Bloomsbury Festival. We were asked to come up with a map from memory (no Googling to check facts or placings), then write a piece of exactly 150 words inspired by it. We then had to write a ‘creative journey’ about how we arrived at the text.
David Clarke’s pamphlet, Gaud (Flarestack), won the Michael Marks Award in 2013. His first full collection of poetry, Arc, was published by Nine Arches Press in 2016 and was longlisted for the Polari First Book Prize. In reviewing his new pamphlet Scare Stories from V. Press for The Poetry School, I was interested in discovering why he chose this format, rather than a second collection.
In January I was delighted to receive a complimentary copy of the ever excellent The North magazine, which is published by The Poetry Business based in Sheffield. It included a close reading of a new poem of mine published in the previous edition.
Clare Pollard found her inclination to poetry early. Her first collection, published nearly twenty years ago, was written while she was still in school.