Simon Barraclough gave us a very entertaining and inspiring reading this month.  What a brilliant way for us to start off the poetry society year!

There is a change next month, as our invited reader for October has had to cancel, but instead we are delighted to present 3 of our successful poetry society members who have publications out this year – Mara Bergman, Graham Mummery and Jill Munro.


Mara            IMG_6607           OLYMPUS DIGITAL CAMERA

Come along and join us, and don’t forget to purchase your copy of this year’s folio, containing two valuable adjudication reports as well as a fascinating variety of poetry, including our national competition prizewinners’ poems, all for just £3.  An ideal Christmas or birthday present for poetry lovers!

The new publications:

Meeting My Inners by Graham Mummery (Pindrop Press)

The Tailor’s Three Sons & Other New York Poems by Mara Bergman (Seren Books) – which won the 2014 Mslexia Women’s Poetry Pamphlet Competition!

The Man From La Paz by Jill Munro (Green Bottle Press)

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New season starts!

It’s still summer, with warm temperatures outside, and hopefully they will stay high into September, when our new season starts!

We open on Tuesday 15th September with a reading by Simon Barraclough, a first visit to the K&S from this much talked about writer. Simon’s second collection Los Alamos Mon Amour was short listed for a Forward prize. As usual the meeting will be at the Camden Centre, beginning at 8pm and will start with a short open-mic session, so bring along your poem to share.

Simon was born in Huddersfield, West Yorkshire to an Irish mother and a Yorkshire father. His  debut collection, Los Alamos Mon Amour , was published by Salt in 2008 and was short-listed for a Forward prize. Since then he has published Bonjour Tetris with Penned in the Margins and his second full collection from Salt, Neptune Blue, came out in 2011.

He enjoys developing live, multi-media events, including Psycho Poetica and The Debris Field. You can learn a little more about all these books and events by visiting his website. Sample poems are scattered throughout.

His latest collection is called Sunspots and is published by Penned in the Margins. Sunspots is a book-length sequence ‘about’ the Sun and largely from the Sun’s point of view. It is the result of four years of research and travel and intense contemplation of our local star. Working with Penned, he has created a live show based on the book and  will be touring around the UK from October 2015. Local venues are 23 NOV FOLKESTONE Book Festival  and 7 DEC LONDON Kings Place.

For your diary:

20th October – AGM and a reading by Martina Evans

17 November – reading from Annie Freud (plus open-mic)

15 December – Christmas event including a poetry quiz

19 January 2016 – three poets: Chris Renshaw, Phil Vernon, Jess Mookherjee

16 February – open-mic and a reading by Luke Kennard

As well as all this there is our open poetry competition, closing date 31st January 2016 with £1600 of prizes and judged this year by Anne-Marie Fyfe.

The busy and successful lives of our member poets this season also start with the launch of a first full collection from Graham Mummery entitled Meeting My Inners and published by Pindrop Press. Graham will be giving a reading from the book and copies will be on sale at the Poetry Café, 22 Betterton Street in London on Thursday 17th September. The evening begins at 7 pm and all are welcome, so do come to support him.

Members’ workshops will also be taking place again at our monthly sessions.

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Summer break

The Kent & Sussex Poetry Society year ended on Tuesday 21st. July with the annual Open Air meeting on Southborough Common.  Meanwhile, news from our members:

Jill Munro


has launched her first collection Man from La Paz with Green Bottle Press;

Abegail Morley has brought out a pamphlet The Memory of Water with Indigo Dreams Publishing;

Caroline Price


was named as the runner-up for the Society of Authors’ Tom-Gallon short story award;

Mara Bergman


has continued her success this year with her win in our Folio Competition.

Congratulations to all.

The Folio will be available next month.  It contains all the prizewinning poems from our Open Competition, the poems selected for the Folio, and adjudication reports from both judges that provide insights into the judging process.  It is excellent value at only £3.

Our judge for the Open Competiton next year will be Anne-Marie Fyfe.

Watch this space and enjoy the summer!

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Open Poetry Competition, 2016

Our Annual Open Poetry Competition is now open.

First Prize: £1000 plus 6 other prizes.

Click on the tab above for details.

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New programme: Autumn 2015 – Spring 2016

Click on the tab above for our exciting new programme.

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Jill Munro at Mayfield


On Sunday 3rd May Kent Kent and Sussex member Jill Munro read to a full house alongside Robin Houghton and Patricia McCarthy as part of the Mayfield Fringe festival at the Middle House, Mayfield. Jill’s first collection, Man From La Paz from the Green Bottle Press will be launched soon.

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Mario Petrucci: Adjudication Report for the 2015 Open Competition

Kent and Sussex, Judge’s Report: Mario Petrucci


What sets a poem apart from the crowd is an interest in language.  An in-built interest in language.  After all, shouldn’t a painter be fascinated by paint, or a potter infinitely curious about clay?  I’m not saying, here, that poets should concern themselves only with experimental or ‘sound poetry’: even the most conventional form or style can still besot itself with, and be acutely alert to, indeed immensely immersed in, the way it sounds.  That will entail a whole lot more than whether or not something rhymes.  Then, of course, we must note the images/metaphors.  These should sing a fresh perspective, surprisingly, as when we break over the brow of a hill onto a stunning and unexpected vista.  I’m generally put off by imagery that shouts: Hey! I’m quite good at this, don’t we think?  I’ve more time (especially as I get older) for the murmurs that play behind language – that subtler metaphor, for instance, whose quiet conviction speaks again, with each re-reading, of a natural parallel in the cosmos that we’re being directed to, jolting us gently into recognising something fundamentally collateral between things, however unlikely or audacious the metaphorical connection may at first seem.

Let me list some further thoughts and provocations that arose whilst judging this excellent competition…

*  *  *

The crucial contrast between prose and poetry can be deft, almost invisible… but it must be decisive.  *  At last, at last – ecology and climate change as common subjects for rank-and-file poetry!  *  It’s absolutely fine in a poem to be lucid, musical, straightforward, capturing a pristine moment – but there probably have to also be nuances, suggestivenesses and complications, half-hidden densities lurking beneath the clear surface and the sense, somehow, of a much larger picture.  It’s fine, too, to be nuanced, suggestive, complexly dense – but there probably have to also be half-aroused lucidities, straightforwardnesses, musicalities – and the idea of a captured instant or stillness somewhere at the work’s core.  *  Every style in a poem, ideally, contains (or at least suggests) its opposites.  This offers not only contrast, but compensation.  *  Sometimes, a stellar image, in its individual brilliance, can illuminate, entire, a poem that’s otherwise dimly uneventful.  *  Straight reminiscence, in poetry, however well done, usually isn’t quite enough.  Straight narrative in poetry – however interesting, thoroughly researched, or well executed – usually isn’t quite enough.  A poetic story, told in prose, is still prose.  *  Line breaks, alone, can’t raise – from a corpse of prose – poetry.  *  Metre, particularly when it’s potent and obvious, demands to be handled with consummate skill: to inhabit a very strong form, you usually need extremely strong content…  either that, or such wisping, warming elegance and intricacy as to surpass the form’s melting point.  *  Form and content are lovers, not acquaintances.  *  Mere randomness isn’t Modernity.  *  Pluralising every noun doesn’t make a poem universal.  *  Fonts that look like they were invented by Disney really don’t help.  *  Beware of unnecessary adjectives: I mean, beware of adjectives.  *  Roadkill seems to be an irresistible draw for Kent and Sussex entrants, along with senility, owls, and Dungeness.  *  The toughest, grittiest, baldest poem can still convey, however indistinctly, Beauty.  *  I fully sympathise with those – and I’ve lost count of the times this has happened to me in my own writing – who discover an obscure fact, a tantalising shred of historical narrative, a glowing fragment of insight, that’s screaming to be made into a poem… but, in spite of having the vibrant seed seemingly intact, they simply don’t possess, in that moment, the soil.  *  In poetry, constructing a familiar strangeness – or a strange familiarity – can be your greatest asset.  *  The poetic spirit at grassroots remains unbroken: the Great themes are coming through with courage and honesty; the Subtler themes are being addressed with care and sensitivity.  *  Poetry is still the finest instrument for detecting what living hearts/minds genuinely think/feel.  *  There is no taboo in contemporary poetry, not even (in these material times) that final, most shuddering of horrors: spirituality.  *  No poem need ever explain itself.  *  Every ‘rule’ one might suggest for poetry is eviscerated by the exception.

*  *  *


Trying to whittle down the entries in a good competition sometimes feels like being the ancient Mariner, who “stoppeth one of three”.  You probably won’t agree with my final decisions – in fact, I almost hope you don’t – because, unless a given entry wins, unreservedly, on all fronts, a judge is always ensnared in the weighing up of a number of diverse features: metrical/linguistic skill, musicality, potency of subject, metaphorical inventiveness, and so on.  The judge’s job is to fabricate a convincingly stable hierarchy from this subjective-objective flux.  It may teach us much when we humbly attempt to do such things, as long as the results aren’t taken as somehow categorical.  So, from caveats to winners.  The four ‘near misses’ (and there were quite a few contenders) were really that: very near.  If it’s any consolation, all our words are, in some essential way, always a near miss to ultimate meaning.  As I’ve said elsewhere: all poetic language is a falling-short – but miraculously so.  The three major winners [First to Blink; Fishing the Khabur River, Syria; A Calculus] do, between them, what I’d wish poetry in every age to achieve at its most ambitious levels.  Firstly, to allow language to enact an experience, through the language, rather than merely tell us about it (that famous workshop adage “Show, don’t tell” doesn’t really reach, in this regard, far enough).  This can be especially resonant in poems that profoundly challenge our point of view, as in the first-prize poem, where the speaker powerfully, surreally morphs between narrator and the poem’s/subject’s roadkill-prey.  Secondly, to be the plain-speaking witness to our troubled world, expressing life – right down to its darkest recesses – on behalf of the (largely) voiceless, and creating connection in the most difficult circumstances without generating victims.  Finally, to reify in words – to make, indeed, sonically palpable – those many under-represented subjects and metaphysical intimations that shimmer at the far edge of perception, that reside, in themselves, almost beyond speech: to lift into scrutiny, in a net of words, through skilful instinct and linguistic daring, an elusive or intangible matter like ‘desire’, so that meaning itself can, by means of mere language, flash through the ineffable and re-emerge, shining.

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