Emptiness: Reviewed by Philip Gross

emptiness_cover_2

‘The richness of this book lies not in any one person’s contribution, but in the fertile space between them – between word and image, between languages, between word and silence, between landscape and light.’

Continue reading “Emptiness: Reviewed by Philip Gross”

2 Years of Publishing

Long Exposure Magazine has now been publishing for 2 years!

During this time the magazine has been fortunate enough to publish a fantastic range of poetry, photography, visual art and critical work from around the world. Many thanks to each contributor and reader who has been involved so far.

Issue 4 will add sharp and engaging short fiction to this output, featuring more writers and artists than any previous issue.

These are exciting times as we look to expand the magazine and above all promote high-quality creative work and those who are producing it.

 

Long Exposure Issue 4: Call for Submissions

For the next issue, Long Exposure is opening up submissions to fiction, specifically very short fiction of 700 words or less. In previous issues we explored traditional short forms such as the haiku (Issue 2), and how an economy of language and sharpness of observation can heighten the impact on the reader by using a minimum of words.

Definitions for this type of fiction are various, and as such our criteria are broad. Whether your pieces lean towards a fluid and poetic style or want to focus on delivering an engaging narrative in a tight space, we would love to read your work.

As usual we are open to poetry submissions on any style or theme, but with a particular interest in the Ekphrastic genre or work which combines text and image, as well as to photography and art work and collaborative projects between writers and artists.

See previous issues for the type of work we have published to date.

If you have an idea for an essay or article, particularly on the relationship between creative writing and the visual arts, contemporary poetry and poetics, or the arts in education and society, contact the author to discuss.

All submissions and enquiries to: editor@longexposuremagazine.com

Full submissions guidelines.

We look forward to hearing from you!

Long Exposure Magazine, Issue 3 Now Available

The new edition of Long Exposure Magazine is now available!

Featuring an international selection of new creative writing, photography and visual art.

Access it here:

Long Exposure Magazine, Issue 3, July, 2016.

LE 3 New

Review: Insatiable Carrot by Judy Kendall

51DMZGFyoEL

Insatiable Carrot by Judy Kendall (Cinnamon Press, 2015)

For many writers, the garden, as a natural environment partly shaped by the individual’s personality, has maintained a considerable attraction. W.H Auden writes in his poem ‘Moon Landing’, ‘…give me a watered, lively garden, remote from blatherers/about the New’, asserting a preference for the tangible, domestic space in place of man’s progress into new territory. Composed in the latter part of the poet’s life, the simplicity of looking out on a stretch of tended land he could call his own represented a retreat from the accelerated intensity of the modern world. It also provided a security Auden had rarely been afforded, a sense of belonging.
Judy Kendall, in turn, employs her poetry to articulate a connection with the land, how the tactile and physical work of maintaining a garden, and the attention this requires, can be channelled into poetry, and may in fact embody the same characteristics.
The poems form observations of the continuous processes of life happening outside ourselves, from the slow progress of growing vegetables to the shriek of an owl at night. Subsequently, many examples draw from features of the Haiku form, with a focus on individual moments of action or stillness. Movement and a sense of the dynamic are key throughout, with the text moving fluidly over the page, resisting constraints or predictability. Through this, Kendall communicates elements both of her gardening and writing processes, and the essential relationship between them. The division between human activity and the natural world, and the poet’s resistance to this, is succinctly but strikingly probed in the line:

‘garden house divide
civilization –
as thin as that?’

-From ‘V
erge’

Throughout there are experiments which offer new challenges to the reader in this immensely varied collection, displaying Kendall’s exploration into the use of visual poetry and typography, and increasing the reader’s engagement, as they become involved in bringing its nuances to the surface. There is a huge creative energy and vibrancy behind the work, and its range is broad, spanning lyric poems, such as traditional sonnets, one or two-line fragments, arrangements with a variety of fonts, and examples where the text is effectively double exposed in appearance, as in ‘A little hedge-cutting?’, where this innovation potentially mimics the vibration of operating an electric hedge trimmer.
As a result, the poems are ambitious in their desire not only to represent experience in language, but to communicate some of the fundamental elements of the activity or object observed through maximising the poems potential, and what can be achieved with the written word on the page. The text works to provide more immediate and multi-sensory data of the experience than a simple re-telling.
In this way the poems, through their innovation, suggest a return to the source, a quest to assist us in remembering our place in the interconnected and co-dependent environments we inhabit.

Daniel Williams

A selection of Judy Kendall’s work is included in Long Exposure Issue 2, you can access it here.

Purchase a copy of ‘Insatiable Carrot’ here.

‘Alchemy of Water’- A Snap-Shot Review

What experience is created when the textual and the visual function in sync?
’Alchemy of Water’, a collaborative project between poets Tony Curtis and Grahame Davies and photographers Mari Owen and Carl Ryan, published in 2013 by Gomer Press, strongly informs the concept behind this project as a whole.
The book lays both elements side by side. Each concise, imagistic poem is a direct reaction to the picture reproduced on its corresponding page. This allows the reader clear insight into their interaction, a dialogue between the Welsh landscape and two of its prolific writers. Here, Curtis senses the pull of national identity in the movement of the south Wales tide:

Dawn over Swansea Bay:

the wet sand is filling with sky.

The boat’s chains are a rich and heavy necklace.

Those rust-ochre links will tie you to this place

whatever the rise of the tide,

whatever the blue-grey weather brings,

whenever the sea sings in these chains.

The sparseness of Curtis’ language, the use of sibilance and its subsequent musicality, intimately crafts a broader semantic resonance to the image. Each poem presents how emotional content can be derived from the landscape and how it has been pictured, also acknowledging the continual draw of its specifics and uniqueness.
The interaction between word and image, in any manifestation, is what this project aims to continue to explore.