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Thursday, 1 September 2016

Alkemi: post-show thoughts and thanks!

As August slipped out of sight and September approached, Alkemi took place at The Nines, Peckham, as Sidekick Books, in collaboration with the Stockholm Review of Literature, put on a post-Brexit reading celebrating European poetry!

Credit: Wikimedia Commons
We paired up the following readers to share translations in and out of English:

Sofia Capel and Lucy Durneen

Image: Ian McLachlan

James Coghill and Lucy Leagrave
Image: IanMcLachlan


Jen Calleja and Marta Kowalewska 
Image: Ian McLachlan

Gabrielle Nolan and Kirsten Irving

Image: Ian McLachlan

Poets read translations of their own work across French, German, Swedish and Polish, alongside non-translated poetry and the work of their partners. We got Brechtian love poetry, anxiety and shape-shifting, memories and adventure.

Jon Stone hosted, reading translations of Dutch and Spanish work (with thanks to a brave audience member who stepped up to read the original Spanish in one case!). You can read his run-up Europoetry posts on Paul Celan and Raymond Queneau on the Sidekick blog.

Music was provided by the late Jacques Brel and visual stimulation by a beautiful array of European cinematic classics, provided by Sofia, including this well-timed still:

Image: Ian McLachlan


We had a Mini Translation Quiz, which you can take here (and the answers are here).

The ten-point question asked for three-line poems on a time when words failed you, and one of my favourites came from Sian Moore:


It was a fantastic night, and we'd like to thank all of the performers for such great sets. It was also a brilliant opportunity to meet people involved in other poetry projects around translation, such as Giorgia Cacciatore from the Movimento per l'Emanzipazione Poesia, who furnished us with a stash of beautiful Italian poetry to read, enjoy and pass on:




Thanks to the Nines for having us, the wonderful audience who embraced their curiosity, the readers and the Stockholm Review of Literature. Here's to more collaborative projects in the future!

Monday, 29 August 2016

A Monolingrel's Forays into European Poetry #2: Raymond Queneau

In the run-up to Sidekick's Alkemi event, run in conjunction with the Stockholm Review of Literature, I'm touring the Europe of my poetry bookshelf. Dominated as it is by British poets, and limited as I am by my lack of facility in any language other than my own, there are still quite a few Europeans who have managed to infiltrate. Today I'm going to reflect briefly on a recent addition: Raymond Queneau.


It is strange and, some might say, shameful, that this is the only Queneau book I own, and that I have only come by it recently. It's not even a bilingual edition. It's not even poetry! (Is it?)

But Queneau is a Charles Xavier among poets; his reach and influence extends well beyond those who have actually read his work. And not simply because his disciples have disciples of their own, or because he was the head of a movement (Oulipo) that has had more than one zeitgeist-y moment, but also because his achievements as an innovator can be boiled down to simple, eye-opening descriptions that have the power to send other writers scurrying to their laboratory-sheds to replicate his experiments. When you first hear about Exercises de Style, for instance - a book that recounts the same anecdote 99 times, each in a different literary or journalistic style - you can grasp the significance of it without a lesson in literary history, and without having to so much as glance at a single page.

Let's have a glance anyway though. Here's the English version (translated by Barbara Wright) of the anecdote rendered as a homeoteleuton:

On a certain date, a corporate crate on which the electorate congregate when they migrate at great rate, late, had to accommodate an ornate, tracheate celibate, who started to altercate with a proximate inmate, and ejaculate: "Oi, mate!" But to anticipate Billingsgate debate, he hastened to abate, and sate.

An houate aftrate, in front of the Saint-Lazate gate, I notate him agate, talkate about a buttate, a buttate on his overcate.

And here it is again as a sonnet:

Glabrous of dial, a plait upon his bonnet,
This lousy lout - (how sad the neck he bore
And long also) - performed his usual chore:
The bus was full and he tried to get on it.

One came, a number ten - perhaps an S;
The platform joined to this plebeian carriage,
Crammed full of folk, allowed no easy passage;
Rich bastards lit cigars there, to impress.

The young giraffe described in my first strophe
Once he was on the bus began to curse an
Innocent chap - (he sought an easy trophy,

But got the worst of it); then found a seat
And sat in it. Time passed. Some wicked person,
Returning, found his buttons did not fit.

It's similarly easy to get the gist of Cent mille milliards de poèmes, a set of ten sonnets with entirely interchangeable lines, allowing for, well, a hundred million million possible combinations. You're more likely to encounter this work on a website than in book form, and it's no coincidence that Queneau is referenced in every single book on games studies I currently have on loan from the library - his work is a touchstone for students in game-like literature, literature as inducement to play. The mere fact of its existence is encouraging for anyone troubled by the apparent one-sidedness of the author-reader relationship in poetry.

That much of the value and import of Queneau's work resides in its formulation also means that he comfortably vaults the language barrier. If you don't need to read him in English, you certainly don't need to read him in French. This is not without drawbacks: I've detected for a while now a fatigue with Oulipo-inspired work by English-speaking poets, and the murmurings of complaint that the average Queneau-em lacks both purpose and substance. Arguably, anyone truly wishing to imitate the spirit of Queneau should be concocting their own formal innovations, not simply repeating his exercises. One invention of his in particular, the univocalism, long ago became the English-poetry equivalent of bicep-flexing. And it can be galling to be dismissed as an Oulipian trickster simply because one makes use of ideas that have now been around for more than half a century.

So it makes sense to turn back to the work itself, and inevitably find that there's more to this poet than clever and hyper-restrictive forms. What I like most about Queneau (the above book isn't the only one I've read, just the only one I own) is his penchant for inter-poem patterning and assemblage. It isn't just the poems, but the books themselves that are elaborate structures. In Morale élémentaire, for instance, the latter half of the book consists of 64 prose poems based roughly on hexagrams from the I Ching. It's like a deck of cards; it could be published as a deck of cards. Content-wise, tone-wise the poems are incredibly ranging - sprawling, even - and yet they always feel reined in, always feel marshalled. I hate to end on a cliche, but this is precisely what I consider to be missing from many poetry books that leave me cold. At the very least, it makes for a refreshing alternative. Queneau sells you the complete set, painstakingly collected, the finished sticker book, rather than giving you the junk shop tour.

Saturday, 27 August 2016

A Monolingrel's Forays into European Poetry #1: Paul Celan


So then! On Wednesday next week, Sidekick team up with the Stockholm Review of Literature for the above event, Alkemi, which centers around European poetry read in its original form alongside English translations. In the last few days before the event, I'm going to do a very short series of posts about key European poets of My Bookshelf, from the perspective of a reader with very little aptitude (despite ongoing attempts to rectify this) for foreign languages.

To start with, Paul Celan, born Paul Antschel, 1920 - 1970, a Romanian-born poet who wrote in German, forging progressively sparser, sharper, harder sliver-shards of poetry throughout his career.


My first encounter with Celan was in the third year of my undergraduate degree at UEA. I apologise for the mundanity of this. He appeared on a course of major German poets, alongside Rilke and Hölderlin, and I wrote a coursework essay on him, which I am sure I could no longer stand by, arguing that he was writing toward the 'end of language'. The marks I received suggested I was on the right track, but that has very little to do with why I keep returning to this poet.

The bluffer's guide to poetry will tell you that if someone brings up Celan, you bring up his suicide and the Holocaust. Both of Celan's parents died in labour camps, and he himself spent time in one before being liberated by the Russian advance. It's widely accepted that his poetry addresses and struggles with that experience, and his most famous poem, 'Todesfuge' (Death Fugue), is entirely unambiguous in taking on that subject matter. The bluffer's guide might suggest that you quote "through the thousand darknesses of murderous speech", Celan's assessment of how language itself (in particular, German) was brutalised by the Nazi regime. Beyond that, you may well be advised to say nothing at all - Celan is difficult, and more importantly, criticism of Celan is difficult. What I've read of it is deep-reaching, meticulous, hard to follow and impossible for me to summarise. It makes the poet himself seem dark, despondent and, er, difficult.

But still, none of this is why I keep coming back to him. This may seem intellectually irresponsible, even culturally insensitive, but I'm not that interested in engaging with the Holocaust, or with the Jewish experience, through Celan's writing. To the extent that particular poems can be traced back to distinct episodes in his life, this is a little more arresting, but I am generally not a fan of parsing the poem as biographical insight. For me, he is much more intriguing as a poet of jagged, crystal strangeness, particularly towards the end of his career, when he made heavy use of neologisms and portmanteau, shunting words together to gesture at new and frightening concepts. An important part of the effect comes from the hard edges (as I perceive it) of the German language, and it's always worth reading several translations of Celan to see the extent to which different translators have tried echo the sound of the original poem.

My favourite translations, by the way, are those by Ian Fairley, who has produced two books of Celan translations for Carcanet - Snowpart and Fathomsuns and Benighted. He keeps a lot of the portmanteau words. They're like little birds made of sawblades. The poems are often extremely short - seemingly easily to swallow, yet liable to get caught in the throat. Check out this little number from Snowpart:

ZUR NACHTORDNUNG Über-
gerittener, Über-
geschlitterter, Über-
gewitterter,

Un-
besungender, Un-
bezwungener, Un-
umwundener, vor
die Irrenzelte gepflanzter

seelenbärtiger, hagel-
äugiger, Weisskies-
stottererer.


TO THE ORDER OF NIGHT Over-
ridden, Over-
slidden, Over-
swithined,

Un-
sung, Un-
swung, Un-
witherwrung,
planted ahead the bedlam tents,

soulbearded, hailstone-
eyed, Whitepebble-
stutterer.

I could probably go into a thorough comparison of different translations at this point, but I'm not sure I'm up to the task right now, and this is meant to be a very short article. So I'll end here by saying that the German sound is so integral to the feel of Celan's poems that when I attempted my own versions, I went so far as to ignore the literal sense entirely and produce a homophonic translation, a form of poem decried by Don Paterson as avant-garde whimsy. The result frustrated a reviewer of my own book, though it's hard to imagine he would have found much more sense in a literal translation. Below is the original German, followed by Ian Fairley's translation, then Michael Hamburger's, and finally my homophonic version from School of Forgery.






Further reading:
http://www.celan-projekt.de/materialien-felstiner.html

Thursday, 21 July 2016

FINDERS KEEPERS emerges from the forest!


Finders Keepers by Harry Man and Sophie Gainsley is out now! A poetic field guide to Britain's vanishing wildlife, its poems and colour illustrations turn the spotlight on foxes, salmon, butterflies, bats and more.

The authors are also geocaching the poems in various locations around the country. Follow @keeperfinder on Twitter or visit finderskeepers.org to keep up to date with the latest information.


Friday, 1 April 2016

Vote for Sidekick Books in this year's Saboteur Awards!


The Saboteur Awards are now open for nominations! Since the vast majority of poetry prizes in the UK focus almost exclusively on single-author collections, the Saboteur Awards are Sidekick's only real chance to win garlands for our amazing poets, artists and contributors. The shortlist and subsequent winners are decided by popular vote, and it's therefore very important that readers and fans of our books take part in the voting process if we're to stand a chance. With that in mind, we humbly request your support!

The nominations round is open until 24th April, and involves filling out at least three categories on the form on this page.

Here are the categories we are eligible for:

1. Nominate the Most Innovative Publisher


We'd really like you to put us down for this! No other publisher that we're aware of is mixing together different media and experimenting so freely with the possible forms of the poetry anthology and pamphlet.

6. Nominate a Best Collaborative Work


We have two eligible titles for this category: Hell Creek Anthology by J.T. Welsch and Dom & Ink, which is an illustrated retelling of the Spoon River Anthology with dinosaurs from Montana. And Surveyors' Riddles by Alistair Noon and Giles Goodland, in which the two poets trade poems reactively and spontaneously, generating a sprawling mixture of alt-history, satire and prophetic puzzles.

12. Nominate a Best Anthology


We have two titles eligible for this category: Over The Line: An Introduction to Poetry Comics, edited by Chrissy Williams and Tom Humberstone, which is the UK's first anthology of poetry comics and which comes endorsed by both Alan Moore and Poetry London. And Birdbook: Farmland, Heathland, Mountain, Moorland, which is our third mega-collection of contemporary bird poems and illustrations, with poems by, among others, David Morley, who has just won the Ted Hughes Award, and Chris Beckett, who was nominated for the same award.

Feel free to fill out the other categories in whatever fashion suits you. Thanks in advance for your support and your time, everyone!

Thursday, 31 March 2016

Beasts! Beasts all over the Library!

Orcas and Dinos and Bears, oh my!

A parliament of strange beasties crept and swooped and skittered across Covent Garden last night, as Sidekick ran wild with Birds, Tiger and Terrible Lizards: A Literary Bestiary!

We all scrambled down to the fancy Library members club for a night of mask-making, quizzing, poetry and partying:

A feathered raccoon, a many-eyed bear and a very stripey long-eared bat. Dr Moreau would be proud.

The event was a celebration of three of our snarliest titles:


JT Welsch came down from York for a fantastic set, which brought to life the prehistoric stars of Hell Creek Anthology (not to mention his splendid tribute to his dog, who couldn't make it along).


The poets of Birdbook III: Farmland, Heathland, Mountain, Moorland treated us to their finest animal poetry.

Sarah Hesketh reads some merlin magic. 

Chris Jones describes the ring ouzel.

Alison Brackenbury speaks of the fieldfare and redwing

Christopher Reid on the carrion crow and corncrake.

Dzifa Benson talks little owl and wood pigeon.
Richard Osmond goes all golden eagle

Chris Beckett takes on the woodlark and red grouse.

And Jon and K sprinkled some movie magic in there too with a couple of extracts from Lives Beyond Us.
Photo courtesy of Ian McLachlan

Photo courtesy of Ian McLachlan

The rightful quiz victor was Peter Daniels, whose poem addressed the rook.



Thank you to Library for hosting us, Ana Sefer for inviting us, all of the readers, the poets and artists of Birdbook III and the masquerading, dino-drawing, quizzical, wonderful audience. You!

I'll leave you with the winner of the mask-making. Transforming a bear into an orca, indeed.




Friday, 26 February 2016

Over The Line featured in World Literature Today!

We're very excited to announce that World Literature Today magazine have featured our poetry comics anthology Over The Line in their Nota Benes section, calling it "an ambitious anthology"!





You can read more from World Literature Today at www.worldliteraturetoday.org/.