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- On the stroke of #MidnightElginMarblesUpdates: twitter.com/ae_stallings/s… 2 hours ago
- RT @ABJackson1: An uncollected poem by Alexander Hutchison, with italics represented by flanking asterisks: SOME SHIFT Certainly it is ti… 1 day ago
- RT @NEUboots2021: We featured Bernadette the Marvellous on New Boots slightly more than a year ago, during the first Lenten Lockdown: htt… 1 day ago
- @ianduhig Also: this new Bashō translation from 1906 turns the whole poem on its head. https://t.co/nywqw75jk2 1 day ago
- @ianduhig When I was a Young Dundonian back in #VirtualDundee, we had a haiku club called #TheBashōStreetKids, and… twitter.com/i/web/status/1… 1 day ago
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Category Archives: public artbone
All Our 1960s
This recent article reinforces my sense that, for my generation of late 50s/early 60s working class kids, there was a perceived expulsion from Eden in the form of the ideological and architectural destruction of ‘our’ cities – and the social … Continue reading
Whale Road: the podcast
Listen to the whale song This poem was written in Crete last year (2010), and presented in a collaboration with Christine Kelegher as part of Hidden Door’s ‘Impossible Journeys’ theme (their site is here). She made it into a zoetrope … Continue reading
the fifty pence piece
I know fifty pence pieces have seven sides, not five, but I still wonder if most people’s first reaction on looking at this new piece, ‘Pentad’, which has just gone into the new mini-quad outside Newcastle University’s Robinson Library, will be to compare it with that characterful coin. Continue reading
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Is this the place?
Over the years I’ve done a whole series of pieces in collaboration with visual artists including Bridget Jones (not that one), David Annand, David Edwick and David Paton. I don’t know why so many of them are called David. I’ve worked on a variety of sites from Darlington to Ambleside, and Newcastle to Dumfries, but I’ve never really pulled this work together in terms of presenting it clearly as a strand in my writing. Yet collaboration, whether with artists, musicians, or other poets — whether on shared projects or through translations — is an important part of the way I see myself working. Continue reading
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