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Full Description
CLASP is an exercise in collective remembering - with, as Lawrence Upton's essay suggests, a consciousness of memory work as also a process of selecting, forgetting and inventing. The original plan had been to focus on the 1970s, the decade during which [Ken Edwards and I] had co-edited Alembic with Peter Barry. Some of those we approached felt they could not usefully remember enough of their poetry activities in this period; some were reluctant to return to the past. Also, as the project developed, it became clear that the original plan wouldn't work: the history did not fit neatly into the limits of the decade. We would have to start earlier to understand the roots of 1970s London poetry, and we would have to stray into the 1980s to see how some of the debates and actions of the 1970s played out. -Robert Hampson, from his Introduction to this volume
Contents
Robert Hampson: IntroductionClive Bush: Challenging the "Little England" consensus in British poetry: Eric Mottram, Poetry Review and TalusPaul A. Green: In the Poetry ZonesJohn Welch: Back ThenLawrence Upton: So many thingsElaine Randell: Tangled up in politicsPaula Claire: Working with Bob Cobbing through the 1970sValerie Soar: Whispers from the pastAnthony Howell: Beige Leather Trousers, Orange DungareesIain Sinclair: Hackney Stopover: Rage in the Eastern HeavenTony Lopez: Brixton, Wivenhoe, Gonville & CaiusRobert Hampson: The PCL poetry conferences David Miller: A good decade for getting lostRobert Vas Dias: My Baptism by Fire Will Rowe: The Translation Workshop and Equatorial magazineStephen Watts: Poetry in the 1970s P.C. FencottKen Edwards: Lower Green FarmPeter Barry: Climbing the twisty staircaseRobert Sheppard: Took chances in London trafficGavin Selerie: Kaleidoscope of Spirits Gilbert Adair: Islands & Affiliations: Sub-Voicive Frances Presley: Experimental poetry and feminism? London 1980-86John Muckle: InklingsSome Further ReadingNotes on ContributorsIndex
