![]() Iota Room QU223 Francis Close Hall University of Gloucestershire Swindon Road Cheltenham GL50 4AZ.UK ISSN 0266-2922 £3 [£4 Europe; £4.50 RoW] Subscriptions: 4 issues £12 [£16 Europe; £18 RoW] email Iota visit the website of Iota Read about changes to Iota from #82 ![]() Web design by This page last updated: 8th May 2008. |
Iota #73 | |
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It's a labour of love at Lodge Farm near Stratford-on-Avon when it comes to sorting the poetic wheat (638 poems submitted in the first 40 days of 2006) from the chaff. Iota receives no outside funding and depends on sales and subscriptions to survive. What are the editors Bob Mee and Janet Murch looking for? What's behind the smart cover with its freshly painted door and silhouetted cat? Perhaps the message is that subtle changes are afoot? Iota doesn't believe in standing still. Virginian M. A. Schaffner's tough guy poem BRYN'S PLACE 3 A.M. hints at the answer: we died, or could no longer deny that death sat at the counter like a vampire friend. I have a few scars myself — nothing special, or even artfully done, but I miss the smile of the owneras does THE SOUND OF FEATHERS from New York's Edward Dougherty: and I think of dying. Losing all this. — And the words hunch away into the grind and rumble of the garbage truck, the road crew chewing up then laying down Water StreetThere are a dozen American and Canadian poets in this edition. Their poetic influence is greater than the sum of its parts and this is no bad thing methinks. It brings balance to the collection and it's interesting to contrast and compare their work with that of the other Iota poets. Christopher James whose new collection THE INVENTION OF BUTTERFLY is now available provides a quintessential English diversion; a walk with a Lakeland ghost. His poem is WORDSWORTH ON WORDSWORTH: We passed over the step De Quincey once slipped on during a midnight rainstorm, shaving off an entire eyebrowHertfordshire's Sue Butler is OFF THE BEATEN TRACK and dreaming her life away whilst pegging out the sheets and pyjamas: If my prince was coming the wind in his horse's dappled mane and the buckles of his bridle would already be singing across the beet fields, unsettling carp in the broad.In her poem BURRAY Allison McVety from Berkshire cleverly works the half-rhymes to bring out the tough side of the life of the crofter: beams steeped in tractor oil, where tight-fisted windows scrimp on light, there are lintels from the bows of ships and chimneys work hard coughing up their lungs of soot for heat. She cooksThe final poem in this edition explores what I perceive to be part of the developing Iota philosophy. BOX FREE ZONE is by Yorkshire's F. Newsum and it begins: it's always about finding the newand goes on: it's not enough to revamp the bay-windowto conclude: it's no good bouncing up and down on the grounds that the earth has moved a bit each time nor stepping into those same old rivers you have to start where nothing begins or has begun.Iota poetry these days is tough and addictive. It gets under the skin. It irritates. It lives in American bars and dives. It goes into hospitals with doctors and nurses. It looks at cancer cases, slides into psychiatric wards and talks to patients. It looks at old age, young age, forgotten dreams and dreams of the future. It's just like real life and there's always the hard morsel worth chewing on. In addition to the 50 or so poems in each edition there are always several pages of book reviews and a useful list of Poetry Festivals and other events. A bargain at three quid I'd say. | ||
| reviewer: Gwilym Williams | ||
| Iota #77 | ||
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Iota continues to publish good, well-crafted poetry. Its modest sized pages contain, mainly, one poem to a page, avoiding that crowded look some magazines have. If its plain format offers no surprises, the editors' choice of poems makes up for it. There are many quotable poems in this issue. Most of the names are new to me — refreshing perhaps? I particularly liked the sure handed prosody of Nell Grey's MY GRANDFATHER'S GARDEN had six beds the size of dinner plates, a wheelbarrow and a watering can painted on the fence, naked ladies among the tiger lilies. He hatched quick worms under the shed, left fox bones for the chickens, loved that garden like an itch or a wound.The rich, descriptive writing in THE LOG by Dominic Stevens also stays in the memory: We dragged it up the beach like a black star our fingers sunk into its fibrous mass where it oozed black from ancient puncture wounds. Heavy and bloated it rolled along the bed too sodden and rotten to float coughed up and glad to be rid of it the sea retched a retreat.Hilary Blomsa's NO NAME ROCK BLUES JAZZ BAR, with its long-lined, gentle surrealism, creates a unique atmosphere: Being very polite, he might share his pomegranate with you, looking for all the world like a sun in the subdued lighting — a four storey candle tower built up over twelve years by dripping reds and organges down an empty bottle of Finlandia vodkaIota is packed with readable poetry — some particularly memorable. | ||
| reviewer: Michael Bangerter |