by Ruth Padel, Professor of Poetry. Emerald, published by Chatto & Windus, is her 11th poetry collection.
“Never be afraid of saying you like poetry,” Jeremy Corbyn told thousands of people at Glastonbury in 2017, after reciting the end of Percy Bysshe Shelley’s ‘The Masque of Anarchy‘:
“Rise like lions after slumber … / Shake your chains to earth like dew … / Ye are many, they are few”.
Shelley wrote that poem – an apocalyptic vision of Britain’s destructive, corrupt, hypocritical rulers – after the Peterloo massacre in 1819, when the cavalry charged a peaceful crowd listening to speeches on parliamentary reform. Fifteen people died. “I met Murder on the way/ He had a mask like Castlereagh/ Very smooth he looked, yet grim;/ Seven blood-hounds followed him”.
In the following stanzas, the foreign secretary, prime minister and lord chancellor of the day accompany Lord Castlereagh, the leader of the House of Commons, through the groaning land, along with Anarchy, Shelley’s name for capitalism. The procession is stopped by a young woman called Hope (who “looked more like Despair”), who lay down in front of the horses.
I learned about Corbyn’s endorsement of poetry in discussion with Shami Chakrabarti in a “poetry and human rights” event at King’s College London, part of a series that highlights poetry’s conversation with all aspects of life, public or private, political or scientific. Continue reading In troubling times, it’s best to turn to your inner poet
Productions of Shakespeare’s plays have been regularly used to comment on the political and public affairs of their performance moment – occasionally provoking heated responses. In 2017, for example, the Public Theatre’s production of Julius Caesar at Shakespeare in the Park prompted a media furore (led by Fox News), because the presentation of Caesar bore a striking resemblance to Donald Trump.
The Public Theatre, other news media, and Shakespeare scholars (such as Stephen Greenblatt) were quick to point out that Shakespeare’s play hardly condones the assassination of Caesar and that it explores, instead, the conspirators’ flawed and extreme reactions to a democracy under threat. But audience responses cannot be contained by a careful reading of the text, and, while a production may clearly announce its relevance to contemporary politics, it is difficult to pinpoint a specific application or to control public responses to it.
by Caitríona O’Reilly, lecturer in Creative Writing and Cosmo Davenport-Hines poetry prize judge
The theme for this year’s Cosmo Davenport-Hines poetry prize was ‘Reconciliation’; a prompt which promised to be both relevant and timely. Nevertheless, among the 96 entries there were – perhaps surprisingly – few on the subject of politics. Or perhaps it is not so surprising that lyric writing should focus on the preoccupations of the self?
Most entries interpreted reconciliation in the light of personal relationships, whether with significant others, siblings, or parents. Other interpretations were more abstract: politics (yes, occasionally), but also the attempt to reconcile different parts of the personality; different cultures with their conflicting claims on the self; or present realities with the imperatives of memory.
My fellow judges and I had our own small work of reconciliation to carry out, of course: deciding which among these competing and widely differing voices would eventually emerge victorious. Thankfully – and I know judges of literary prizes almost always say this, but this time it happens to be true— a harmonious consensus was achieved with minimum discussion. Many of the poems on our personal shortlists overlapped, and the standout contenders declared themselves at an early stage in the judging. As in past years, we had the luxury of awarding not just a First Prize, but also a Second, Third, and three further Commendations, which kept all of us happy.
If the successful poems have anything in common, it is the qualities shared by all good poetry: an eye at an unexpected angle to reality; a strong sense of line; a way with metaphor; a convincing and consistent tone carrying through the poem from beginning to end; and most importantly, that quickening in language that is unmistakeable.
by Ella Parry-Davies, PhD researcher funded by King’s College London and the National University of Singapore, working on performance, place, and memory, and Myka Tucker-Abramson, Lecturer in Contemporary Literature. With a postscript from Kélina Gotman, Lecturer in Theatre and Performance Studies
“The male is a biological accident: the Y (male) gene is an incomplete X (female) gene, that is, it has an incomplete set of chromosomes. The male is an incomplete female, a walking abortion, aborted at the gene stage. To be male is to be deficient, emotionally limited; maleness is a deficiency disease and males are emotional cripples.
SCUM is too impatient to wait for the de-brainwashing of millions of assholes. Why should the swinging females continue to plod dismally along with the dull male ones? Why should the fates of the groovy and the creepy be intertwined? A small handful of SCUM can take over the country within a year by systematically fucking up the system, selectively destroying property, and murder.”
(Valerie Solanas, “The Scum Manifesto”, 1967)
“If sexism is a by-product of capitalism’s relentless appetite for profit then sexism would wither away in the advent of a successful socialist revolution. If the world historical defeat of women occurred at the hands of an armed patriarchal revolt, then it is time for Amazon guerrillas to start training in the Adirondacks.”
(Gayle Rubin, “The Traffic in Women”, 1975)
“Homoexplosion is a radical queer/ trans group of fly fatherfuckers. We advocate people fucking in the street and burning shit—especially cops.”
(NYC Queers Bash Back Against NYPD, 2009)
We live in a moment of amplified violence, or at least a time in which certain kinds of violence have become more visible. New forms of surveillance, and heightened attention to the reported arming of both so-called individual terrorists or terrorist cells, as well as hostile nations, often speaks less to new threats than to carefully crafted states of emergency. However, at the same time, we are seeing an increasing incidents of hate crimes, intensified and increasing police brutality and state violence, and the continued expansion of the War on Terror.