WRITES

Category: poetry magazines

Substitute : New volume of poems 2018

Sometimes all it needs is a trigger and Kit de Waal’s excellent piece in the Guardian yesterday brought together a lot of things for me that been bubbling under the surface.

Her article ‘Make room for working-class writers‘ touched a nerve…..

read it here https://www.theguardian.com/books/2018/feb/10/kit-de-waal-where-are-all-the-working-class-writers-

Also she made a comment about how the Proper v Performance Poetry debate basically divides along class lines and that really rang true for me.

It is the reason I leapt to the defence of McNish and Tempest. Adrian Slatcher’s comments about the experience of being a working class writer also hit home.

In 2011 we were both published by SALT as Salt Modern Voices but throughout I felt an outsider at that particular party.

I was reading next to very affluent new poets from privileged backgrounds who frankly I had nothing in common with.

Most of the audience were from their background not mine and in a particularly depressing reading in Oxford I actually felt antagonism for raising my subject in their presence.

A mostly white female middle-class leftist audience did not like to hear about the destruction of the working class communities of Oxford which allowed them to enjoy their academic privileges.

Some inconvenient truths are not wanted even by allegedly left-leaning liberal elites.

Adrian’s very erudite piece on the subject here:

http://artoffiction.blogspot.co.uk/2017/12/a-working-class-writer-is-something-to.html

Since then I have noticed that academic poetry and performance poetry have started to separate in a alarming way. This is an outcome of a deliberately devisive education policy by government that increasingly appears to be a ‘pay to play’ approach to education.

If your parents invest a £100 k plus (BA+MA+PHD fees)you will one day get the payback of an academic career before 30 in return . An American privatised model.

These factors stopped me writing..I gave up..I felt nobody cared..that there was no audience for what I did..and I was right….the middle-class ‘proper poetry’ area isn’t interested in me..isn’t interested in the truth of working class lives and experience as a subject.

PN Review and others are not interested in working class experience one iota.

You want to play in the Premiere League magazines better hide all that personal shit and start writing about your foreign holidays, how difficult it is being a middle class person post Brexit or at worst make up shit about Impressionist painter’s wives you have no knowledge about but it feels authentic enough to your equally pretentious and middle-class readers sitting in their sun lounges drinking martinis to swallow.

Poetry for me has always been a means of articulating my anger at the class system in the U.K.

It has always been polemical even when it appears to be purely personal. As Raymond Williams wrote about the Romantics ‘the personal is political’.

So I have the impetus and hopefully in a few weeks a book to go with it…..I feel that inspired. I have been silenced for too long.

I am coming off the subs bench……I may not make the first team but I will put in some hefty tackles especially on Simon Armitage …the David Beckham of poetry;-)

 

Diesel on Gravel – The Berkshire Raymond Carver? 1985-1990

diesellg

Poems written in London and Oxfordshire. Published in early 1990s in Last Gasp pamphlets. Last Gasp was a poetry open mic I helped run with poets Giles Goodland and Bridget Kursheed in Oxford.

From 1986 I was heavily influenced by Raymond Carver and especially his book FIRES.  Indeed I attended his memorial readings event in London and saw Edmund White, Richard Ford and Salman Rushdie read in his honour.

I think this volume is the ‘lost volume’ as I was living at home in Didcot and totally cut off from literary world from 1988 until 1990.

I did do some readings through the Last Gasp group until I moved to Edinburgh in 1993.

None of these poems have been seen apart from in these hand made pamphlets.

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This was the volume which would ‘break me’ I thought the world was my oyster…..I would outwrite Simon Armitage…

Well hindsight is a wonderful thing I am unemployed and he is Oxford Professor of Poetry..

I read with him in Reading in 1990..he was arguing with the arts officer over money..he a little more pushy than me.

I was unemployed and dressed like Yeats and hadn’t got a clue that it was a poetry ‘business’ …

BUT I could write…fuck lot of good it did me…..

But this was all done off my own back..   no University Department objectives to tick box ..no influential friends..nothing but words..and in the end words is all there is….

Its as good as it gets maybe one day I get some recognition for all this but I wouldn’t bet on it…..

Ironically I got recognition in Scotland……should have stayed there but that another story and the next volume ..Landmine…

Och Aye…

Style note all hand written then typed on my mother’s old typewriter.

The last few pages of the document as pdf have originals and some uncollected poems.

The blue pen and line through a poem are from Giles Goodland when selecting for a pamphlet…I did not have second copies as everything had to be typed by hand …so here it is..

Diesel on Gravel…..1990

  Diesel on Gravel – Poems 1985-1990 by Shaun Belcher on Scribd

The Tithe Machine – Poems 1981-1985

cropped-collected1.jpg

titheM newcountry

 

My first poems from 1981-1985 after art college. Some were published in the first volume of a’The New Magazine’ then just started by Gerard Woodward who  went on to be a well known poet and novelist.
Unsure of my writing I used the  ‘David Bell’ alter ego.

32 poems including the sequence ‘The New Country’ from 1985.

1981-5 never shown these to anyone since. Post art college first poems..reading Pasternak and Heaney…Bunting and W.C.Williams…and a hefty bit of John Masefield and Edward Thomas..love poems to a non-existent mythical England…32 poems including the mad The Moon Over Henley my version of Bunting and T.S. Elliot..I kid you not…with some Echo and The Bunnymen in there too:-)

32 poems because same number as Hughes ‘Hawk in th Rain’…along with Heaney a major influence the only four poetry books I owned at art college were Heaney’s ‘ Death of a Naturalist’,  Hughes’ book and Sylvia Plath’s’Colossus’ and Thom Gunn ‘Sense of Movement’ .not a bad start:-).

I still have all four..

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The Tithe Machine by Shaun Belcher on Scribd

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