Born Wolverhampton (1958) and lives in Devon. Read English at Sidney Sussex College, Cambridge (1977-80); Lettore in English at Università dell'Aquila (1980-2).
Principal of Dartington College of Arts since September 2004, following eight years as Dean of Art & Design and Professor of Glass at the University of Wolverhampton, where he had been Head of Glass for two years after a decade working in the glass crystal industry -- five years respectively in glass production at Stuart & Sons Ltd., and as Head of Design & Development at Dartington Crystal. Honorary Professor of Fine Art at Shanghai University since 2000. Visiting Professor, University of Plymouth.
Stamford Hill, North London
The recording was made on 17 January 2007 at a house in Stamford Hill, north London.
From 'Raag Leaves for Paresh Chakraborty'
- 'as yet still a moment
- 'light catches like
- 'local colour look
- 'or lifts like slip'
- 'plunge pool over the wrist slip'
- 'so depending on'
- 'something and'
- 'the graves unsugared under
- 'touching so'
- 'Uneven the ground is'
- our time is'
Published work includes Sirius and Cade l'uliva (Poetical Histories, Cambridge 1995 and 2003) and inclusion in FOIL: Defining Poetry 1985-2000 (Etruscan Books, 2000). Work has appeared in The Gig (7 & 16); Sneak's Noise (infernal Histories/Poetical methods, Cambridge 1998); and Two Entangled Events (2005). 'The hour the swallow keens, a translation of Dante Alighieri, Purgatorio IX, appeared in A Meeting for Douglas Oliver (Cambridge, infernal methods/Street Editions/Poetical Histories, 2002); and three poems under the title 'Da'ud' can be found online at /seconds issue 04. A lyric sequence, Raag Leaves for Paresh Chakraborty, will be published by Wild Honey Press in 2007.
Critical writing, principally on contemporary glass, has been translated variously into Chinese, Danish, French, German, Italian, Spanish and Malay, and includes essays on the work of Keith Cummings, Antoine Leperlier, Colin Reid, and Ann Wolff. Three recent texts are available as internet publications: Stair Spirit: Observations of Ann Wolff; Touching the Void on Heidegger, Daoism and lost wax casting; and 'Antoine Leperlier: tralucentes novi liquores fluxisse', in Antoine Leperlier: La métaphysique du verre (Paris, Editions Réunion des musées nationaux).
Four sample texts
to speak phænomenal distance what is there
here slips between here and there horizons
edges bed to table coffee cup water jug
glass open window outside tall hedgerow insects scaling slant evening light new moon unseen all this
thirsting after presence in your eyes love
making touching so stripped thread bare melody
light catches like
blown graphite grainy draws your eye
in a negative snow cast wintering light in shadow
scree pictures the news a spilt figure blood
proof boot stamp blood shed in snow some
rearguard mandate that was it was neither
a staying nor a going says the diplomat just
a quiet reduction to safe areas
plunge pool over the wrist slipt
ice lit noose of water takes
my hand away streaming hand
to mouth taken in drinks in the hollow
of its making open gifts pour
through thin skin my emptying
hands flying white without haste
and without rest
a strip of gauze
unwinding diesel fabric coarse day
light fibres loosely bound a stone's
throw from there but there is a path
even to that distance vertiginous given the lie
of the land beyond words choking song
throat burns and gags stop your mouth
Review of Total Writing London (2003) reading by Nate Dorward in ParisTransatlantic
Review of 2006 Cambridge Conference of Contemporary Poetry (CCCP16) reading by Chris Goode in nypoesi (Norway)
Review of FOIL by Tim Allen at Terrible Work