My approach is to banish the myth that experimental poetry is impossible to read. I think that being able to read experimental poetry is often seen as an elitist or privileged skill. But it’s not always like that: I don’t know how to fix a sink but I could do it if I did the training. It’s often a case of time or patience. I have an aim of presenting it as such, letting people know that. I’ve done a lot of bubblegum things to get people interested: promotional paraphernalia, wacky gifts, goofy blog speech, events. And I’m also in the business of telling people they don’t have to ‘understand’ a poem for it to be fun. I mean, I don’t understand an ice cream. I personally don’t understand a lot music I listen to but again I could do if I put in the work.
Rest of interview with James Davies HERE
Philip Davenport reviews Tom Jenks fabulous *
“There’s no sense of an overarching schema, no symphony, no grand homophonic ending. This is channel-hopping faster than eye or ear, driven by panic and punctuated with nervous jokes. In the tone of it, I’m reminded of nobody so much as neurotic old Brit comedians, Kenneth Williams or Hancock, the weirdness of their emotional hygiene, the horror at the approach of their ogres. Held in the throat of the poem is Ken Williams’s skreeking laugh, Hancock’s tussle with the melancholy of each bloodied day.”
Read the rest at the LINK