Sunday, 4 March 2018


Request for Help in Updating

I have finally made some progress in my plan to make more current. Initial work has been done on the list of Links to British Innovative Poetry Sites. I have completely updated “Resources, lists and other foci of information”, “Online magazines, magazines online, e-publishers and other assemblages of writing” & “Writers' homepages, blogs etc”. If anyone is willing to cast an eye and make suggestions over this, I will message, email or otherwise send a copy. This really needs to be a collaborative exercise. There is a vast amount more now going on than there was at the beginning of the decade, far more than one old bloke living outside London can grasp. I’d also appreciate people emphasising which websites they feel are really useful, important amazing or just bloody good in their own way. 

I’m conscious of a real wave of activity by younger poets, often performance-based. (Sharp intakes of breath I can hear). A lot that is really exciting is happening with a rebirth of this performed poetry, I hope resting it away from the sterility of Slam into more innovative forms. Stuff that’s non-normative. And too of blends of poetry with art activities as performance or indeed artefacts/processes involving language. All good – potentially another great explosion of poetic genetic variety. This is bursting out now, and will change things. So it’s a good point to try and sum up this scene before it mutates and grows into something maybe quite different. Tragic if it doesn’t.

So if you want to assist in drawing up a mapping of the present state of British Innovative Poetry to update – let me know by whatever means, and I’ll involve you. I do need assistance, will ensure it is credited, indeed may well pass on the website to anyone who wants it after this project is completed.

Wednesday, 7 September 2016


Amos Weisz, Worksongs

To announce the forthcoming event publicising Amos Weisz’s posthumous selected poems, Worksongs. There’s an event at i'klectik near Waterloo on November 4 as a launch. Great Works has just been refreshed, with the translations and original work by him published on it foregrounded. More of his poems will follow on a weekly basis until the launch event, and the book will be available from Great Works shortly. You are unlikely to know Amos Weisz’s work – he had a small self-published booklet, and these texts on Great Works. I’ll put up an Amos Weisz Facebook page shortly, do an event page for the reading etc, with more of his writing on Great Works.

It is a serious poetry, written through his life, and with engagement with a range of contemporaries and other influences. It also is situated in Amos's own psychological space, one of woundedness and extremes, in which a birthright is fought with and fought over. It is never easy or something as stupid as seductive, but can switch from the finest gallows humour to disgust and abjection in an instant. The verbal creativity and level of semantic activity is constantly astonishing.

Thursday, 5 November 2015

Well, hoopsy-doopsy-dooh, and here we are. Who'd have believed it? Great Works slowly lumbering to its feet again. This blog making utterance after such long silence its jaws have nearly fused together. Rumours posted of a Great Works Editions book to come, even if it's only of old Philpott's lucubrations. This shall carry on!

Saturday, 9 July 2011


Addition to Great Works

I have returned the poems of mine previously on the site, with improved coding where necessary. I have also added a page explaining and linking to the complete set of texts that compose "In the Dirt of the Post-Lyric: A Collaborative Cycle by Robert Blake, Connie Beauchamp, Gerri Dixon, Simon Gregory, Mark Hall, Erwin Hass, Tina Hyett, Emma Liukunas, Mikaela Moriarty, Peter Philpott, Bradley Tabor & Spencer Termott", a curious piece of work I think you may find.

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Monday, 20 June 2011


OK, so what is happening with then?

1. The Meeting

For he suddenly smote on the door, even
Louder, and lifted his head:—
'Tell them I came, and no one answer'd,
'That I kept my word,' he said.
I suspected it might come to that: leaving me curiously light-hearted, after a quiet and nostalgic afternoon in Cafe Oto. I can do as I wish as it were. So, when not looking after Ianthe, recovering from looking after Ianthe, assisting in looking after Ianthe, and other things on occasion too, a small step into the 21st Century (not the Century of the Internet, but more likely of the Mobile or the Handheld Device (sounds like a dildo, but there we are, that's progress for you), plus some further plans

2. Poetry Readings in London Now Mobile

I've just created a mobile-friendly version of the Readings in London webpage, with the next month's readings, with details stripped down, but all links and crucial stuff like time, place, cost, names still there. It should be readable on any phone able to access the internet. Try it at I've altered the title of the page to Poetry Readings in London: nothing else entitled that, so we'll claim it.

I would really like as much feedback as possible from anyone who uses the page on a mobile or PDA. I'd also be interested in anyone accessing the more web-oriented Poetry Readings in London webpage, which I think ought to be quite usable on many tablet devices, maybe larger PDAs. Both versions have a link for phone numbers, tho' obviously that ain't going to work on anything without a SIM.

I've thought of trying to turn the page into a self-contained App - that seems beyond me at present I'm afraid, and might well need more complicated updating than the present webpages. We'll see. I need to buy the Golden Wonder Book of Easy Web Applications and carefully read it.

But please do respond if you use the pages on anything smaller than a laptop, especially a phone. I fantasise it could even be useful to check locations etc, and to have access to What's On whenever & wherever.

3. And Beyond?

After I've replaced my  work on Great Works, with a complete text of In the Dirt, using a different host for the pages than previous - get some lists. I'll ask, initially those who have expressed interest in the MPorgUKCollective , to send in a list of bestest books etc in last so many years, and publish 'em.  Await news!

Then, late summer redo & update links. I shall request suggestions & corrections.

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Monday, 7 March 2011


What Is To Be Done with

I have been assured by a number of people how very useful they find Great Works and in their own exploration of Contemporary British Innovative Poetry, or in helping others explore the terrain. Well, good. That’s what I want. Now, I have lain Great Works into a quite quiet state for the present (however long that may be); but I would like if possible to further develop (MP for short), and make it more useful. And I feel this will need to be a collective effort.

MP is a compendious resource for anyone wanting to understand Contemporary British Innovative Poetry (just poetry after this – you know what I mean and what I don’t). The site concentrates on online resources as these are universally accessible, and it is itself a website (duh!) It isn’t an academic resource (though if it is useful, excellent), so I underplay the academic contexts for much poetry. I have moreover some reservations about the recent increasing importance for supporting poetry of the academic world (on a level of principles and strategy, not the individuals concerned). I aim always at a model user of the site who isn’t in close contact with academic institutions and resources. That strikes me as important. It may well become more important as the current regime’s HE policy increasingly cuts in and the English Higher education system is lopped down to fit their nightmare visions.

Another important element in the site that I want to ensure is its broad church interpretation of poetry. I’m happy with any and all offspring (legitimate or not, adopted, or even just abducted) of the British Poetry Revival and its antecedent 1950s modernists. And their offspring etc etc. We are all sealed of the one tribe, so far as I am concerned. Anything between highly informed and cute as lace pants takes on the post-avant and a Writing Degree Zero basal modernism I’ll accept. Anything to avoid narrow and negative definitions that exclude what may have some promise, power or interest, and could possibly contribute to as varied as possible gene-pool for poetry. (Hybrid vigour beats specialised adaptation every time in my book of biological metaphors.)

Now to the nub. The site gets bigger and bigger. The volume of worthwhile poetry is ever-increasing at an even faster rate. (Hurray!) My time and energy are, though, unfortunately being taken up by other things in ways I hadn’t fully prepared for, apart from I’m just feeling fed up after ten years heavily devoted to doing websites. I think, more importantly, that if MP is to carry on effectively, it needs to be a more collective, less personal enterprise. Not just my take and presentation, but something better.

What, in my opinion, the site needs is a wider range of input for continuingly useful links and lists, a wider and more informed input on books etc, and indeed consideration of what other sorts of material could be included on MP, eg should there be more details on individual poets? more lists of publications?? I have I am well aware a total blind spot on online video material, and am not very interested in audio for that matter – pure text or pure performance are what engage me, not mediated versions – and am well aware that this limits what I draw attention to or can usefully comment on, in a way that excludes many internet users. The site would also benefit from a considered use of social networking and mobile phone technologies – would these be of any use in reaching its audience and how? And should there, could there, be reviews? Lists of books published? And is it all too London-centred? Is MP keeping up with what is really happening? Is it actually compelling and attractive enough (sufficiently “sticky” as a site, as it used to be said) for its target audience? I am undoubtedly way too old to do this as well, and there may well be too much now purely historical material. So, how then to include you, dear reader?

I propose to set up a Collective, for both users and those willing contribute material and ideas or help in production. I see this existing on several layers of contact and commitment:
Let’s see then how this all pans out. At the very least, feedback will be obtained. I hope people willing and able to contribute, in whatever way, will be able to do so, and roles will be defined as they develop. I suspect it’ll be up to me to conduct the orchestra for a while – but ideally a spontaneous and confident collective improvisation can replace that metaphor by one more appropriate to our poetry.

Two technical points to end with. I have altered the copyright on most of the pages on the site (excepting the autobiographical material) to a Creative Commons License, meaning, to quote the Creative Common website ( – altered punctuation etc), “You are free to Share – to copy, distribute and transmit the work – and to Remix –to adapt the work – under the following conditions: Attribution – You must attribute to Peter Philpott (with link) –; Noncommercial – You may not use this work for commercial purposes –; Share Alike – If you alter, transform, or build upon this work, you may distribute the resulting work only under the same or similar license to this one.” So, really, feel free to go ahead and reuse and remake anything from it.

Second point is to note that MP has been produced by me coded in not totally kosher Transitional XHTML, with the aid of Dreamweaver. This is technology I am reasonably confident with. It is a rather dated and unprofessional approach nowadays. Suggestions and assistance to make things easier to add and update, and also to give less of an amateur hobbyist visual style would be also greatly appreciated. Personally, I find a lot of cute and cool design gets in the way of legibility and clarity. On the other hand MP’s style may repulse or bore its would-be audience. MP’s availability for a range of platforms also needs to be considered, as it looks as though smartphones, e-readers and tablet computers are all now entering the electronic data ecosystem, and may well need to be catered for if the site is not to become obsolete. Informed input on these issues would be appreciated.

Details of Open Planning Meeting at Café Oto, 3.00-5.30ish (no music there that night so might be able to stay a little later), Sunday April 3. (Yes, other meetings will need to be in the evening, in the week, I know.) Address is 18-22 Ashwin St, Dalston, London E8 3DL, tucked in behind at Dalston Junction (where the Balls Pond Road/Dalston Lane crosses the Kingsland Road, immediately on the North-East quadrant). Transport really is easy: regular buses from Liverpool St Station (242 & 149), the West End, Waterloo (76), London Bridge (149). Two Overland stations a step away: Dalston Junction interconnecting with Underground at Whitechapel and Highbury & Islington, Dalston Kingsland at Stratford and Highbury & Islington. Bicycle racks. Good food & drink. Nice place. But apart from enjoying the unrivalled amenities, just to get a sense of what anyone that enthused to attend feels about the site and what is to be done. I really am serious about problems carrying on with sole responsibility for something that ought to be not personal, but collective.

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Thursday, 3 March 2011


Updates to

To inform the world that I've just updated the various lists and checked the links and added some more material to I hope it's all useful. And it's on a Creative Commons licence now as well. Comment on the blog or email or whatever with any responses, suggestions etc.

Further announcement coming shortly about its future.

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