our role model GREAT WORKS

another serial exchange from Simon Marsh and Peter Hughes a kind of fractured whole

Great Works is delighted to be hosting a new collaborative sequence by Peter Hughes and Simon Marsh, re:lode. From July 2006 to June 2010, we were pleased to publish their first collaboration The Pistol Tree Poems (subsequently published by Shearsman) as all 106 poems were sent to us. This new collaboration may help cheer even more blighted times as the two poets exchange updates on how things are, with fancy, wit, humour, invention and sheer verbal dexterities, between what will probably soon be BerlusconiLand again & what will probably be briefly MayLand. How the life goes on, eh? Email me and I'll email you when the next poems in the sequence are posted up. It will be something to look forward to, as we probably sunder ourselves totally from the continent we used to belong to.

 Wound Scar Memories and After

Wound Scar Memories front cover

I have revived Great Works Editions to publish a recent text of mine: Wound Scar Memories. Written August 31, 2015–June 20, 2016, it consists of three sequences of 17 sonnetty type things, starting off from matching the glorious Atkins and Hughes versions of Petrarch to the ur-scene of sonnetty action, Fontaine-de-Vaucluse, one hot summer day, and ending up irretrievably lost in interminable prose about the contemporary political implications of the Dark Ages. Can you resist? Three poems and a couple of prose paragraphs online just here! A lot more about Wound Scar Memories available just there. Book available, in theory, I hope from all good booksellers, or from the blessed lulu.com, but I'd rather you bought it from me via PayPal at £6 + £1.22 postage:

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1837 engraving of a Danish warriorTelling the Beads: A Spiritual Year Book for Our Times the text written subsequent to that book can be available in your mailbox as a series of pdf downloads through the year until after the summer solstice. Telling the Beads was inspired by Brecht's Die Hauspostille. This was his beautiful and savage appropriation and transformation in the 1920s of a German tradition (both Catholic and Lutheran) of a book of homilies for home readings and devotions. I've tied in my text more than Brecht did to the notion of an annual cycle, by using Bede's account of the Anglo-Saxon calendar. His statements about Old English paganism are sometimes queried, as they don't fit very well with all the familiar Woden and Thor Warrior!!! stuff. I'm with Bill Griffiths, that all that crap was just upper-class ideology to keep structures of power strong and stable. What people actually followed in their daily lives would have been different. You can explore my very incorrect and anomalous version of this — but the cakes and the goddesses are all from the Venerable One! so mock not too much — I'll send you a catch-up to date, and then include you in on the future nailings, if you email me at peter@greatworks.org.uk, or any other email address of mine, or FaceBook me — before mid March. More on Telling the Beads here.

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February 5, 2018 — Peter Philpott    top

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The project of Great Works is that of publishing innovative poetry in modernist/postmodernist modes. This is is a site for innovative writing: modernist, postmodernist, archaic. It proclaims the need to let a thousand flowers bloom, and rejects any single definition of what writing is. It welcomes alternative poetries and other writing. It proudly offers no retrieval of coherence at a higher interpretative level.

modernpoetry.org.uk contains background information on contemporary British avant-garde poetry. It has not been updated since 2013; but is preparing to re-erupt at any time.