Category Archives: Life writing, Creative writing and Performance

Sipping in London

By Louise Usher

During my creative writing MA, we were given a writing prompt, encouraging us to take a seat in a coffee shop and write what we could hear. The piece that followed from my mind gave me reason to believe that sounds are subjective. Not only am I hearing impaired, since my mastoidectomy in the year 2000, but an active imagination saw me writing stories within the coffee shop sounds.

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“attracting black poets and increasing the volume of those that are seen in the world”: An Interview with Nick Makoha on the Obsidian Foundation

By George Kowalik (editor)

I sat down with Nick Makoha, second year PhD student in the English department here at King’s. We mainly talked about Nick’s work with the Obsidian Foundation, but also moved on to his creative work generally. Below is a transcript of our discussion of the Obsidian Foundation. See the attached audio file for the full interview…

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Shakespeare in the Royal Collection. Shakespeare’s Second Folio.

Sally Barnden, in conversation with Emma Stuart, explores Shakespeare’s Second Folio, which was in possession of Charles I during his imprisonment.

One of the most prized objects in the Royal Collection is a ‘Second Folio’ edition of Shakespeare’s plays, first published in 1632. It contains handwritten annotations made by the deposed King Charles I in the final days before his execution on the orders of Parliament, during the English Civil War.

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INTERVIEW: KCL Professor of Poetry Ruth Padel on mythology, restoration and ‘Daughters of the Labyrinth’


As part of the interview series Writers on Research, Joe Bedford speaks to KCL Professor of Poetry Ruth Padel about the research process behind her new book Daughters of the Labyrinth released on 1/7/21.

 

https://joebedford.co.uk/ruth-padel/

 

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Reflecting on This Year’s Ivan Juritz Prize

By Imogen Free

Nick Makoha’s ‘A Low-Pressure System’ moves through the past towards mythology; it is a personal journal that resists any fixity, but instead is a series, as Ivan Juritz Prize judge, Will Eaves notes, ‘perpetually in flight’. This retelling of the events related to the Entebbe hijacking in 1976 is paralleled against a series of flights from Nick’s own experience, and despite writing through dramatic historical events, his moving voice can be felt strongly throughout. This became particularly evident when listening to him read from Codex 2 during our prizegiving event at the end of June. Codex 2 is a poem about his father’s personal and political life; reading from it, we saw him half-smile as he came to the last line: ‘I had a small nonspeaking part’.

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