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Incorporating Writing Issue Vol 2

Incorporating Writing Issue Vol 2

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Published by Andrew Oldham
Roger McGough and Hilary Mantel.
Roger McGough and Hilary Mantel.

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Published by: Andrew Oldham on Apr 30, 2012
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www.incwriters.comIncorporating Writing Issue 1 Volume 2Contact incwriters@yahoo.co.uk----------------------------------------------------
Incorporating Writing
is an imprint of The Incwriters Society (UK). Themagazine is managed by an editorial team independent of The Society'sConstitution.Nothing in this magazine may be reproduced in whole or part  without permission of the publishers. We cannot accept responsibility forunsolicited manuscripts, reproduction of articles, photographs or content.Incorporating Writing has endeavoured to ensure that all information insidethe magazine is correct, however prices and details are subject to change.  Individual contributors indemnify Incorporating Writing, The IncwritersSociety (UK) against copyright claims, monetary claims, tax payments / NIcontributions, or any other claims. This magazine is produced in the UK ©The Incwriters Society (UK) 2004 ----------------------------------------------------In this issue:Editorial: What is Literature?The Pop and the Passion: An Interview with Roger McGoughDamn Near Illegal: An Interview with Steve AylettVariation To The Local Geography: The Mind of Hilary MantelA Day in the Life of: Julia BirdBegin anywherePolarising Press: from The North to The Poetry BusinessReviews----------------------------------------------------What is Literature?Editorial by Samantha MortonI'm sat at my computer, with an email saying "You do the editorial thistime", this has been going on for several weeks, between me and Bixby. I'vegot to admit that I find writing daunting, I enjoy it, I love it, I'm oneof life's natural readers. My perfect book has yet to be written, so I'llcarry on reading until I find it. Sure I've got close, Wally Lamb nearlyclinched it, Helen Fielding promised so much and delivered so little andDBC Pierre kept me warm during the winter months. But I have yet to reachmy Xanadu of a perfect writer, if I found them would the world end? Could Iread anymore? Would I compare to other loves of my past? Of course not,it's like comparing Proust to Archer - one took to his bed for years andthe other was forced into bed before lights out, and only one has writtensomething that can be called Literary. But that's it, what is Literatureand what is literature? My Mother never read what I read, when I readGermaine Greer, she read Mills and Boon, when I started on Harry Potter,she foisted Enid Blyton on my children (the unsanitised version). It's hardto explain to a six year old why it's okay for Harry Potter to sleep in atower full of boys (I have seen the frightening metaphor) but that it's nota good idea to run around an inner-city primary school yard playing PC Plodand the Golliwogs (please, don't all write in saying that I can't use thatword, Blyton did and I blame her for having to mention it here). It's funnythough how stories we grew up are not appropriate for our children and thatthe stories that our parents read seem inappropriate to us.It's the idea of language and literature with a small 'L' and a capital 'L'that has sparked the biggest argument in the office to date. So much so,that a chalk board has been employed to list names of writers and poets intwo columns. In the last week we have dissected the twentieth century,Hughes is in the Literature camp, so is Thomas and Hardy. Ayres, Townsendand Archer have been regimented to the literature side. Rants have beenfollowed up with tirades over John Cooper Clarke, now on the borderline ofboth and why Gunn isn't in the Literature list, we've argued about Auden,pre-USA and post-UK. We have compiled wish lists and drawn up lengthy
 
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attacks and defensive ploys for our favourite writers, I saved Woolf buthad to, with a bitter irony, ditch Albee. This useless but enthrallingexercise has shown that to all intents and purposes, regardless of criticsand Literature courses across the globe, that reading and devouring ofLiterature and literature is a subjective thing. That we will never agreewith everyone one hundred percent that Swift was a perfect satirist, thatWallace Stevens is still unappreciated, that Anne Sexton was brilliant andthat Claire Pollard is shining beacon in UK Poetry. I still feel that EzraPound should be consigned to the nearest cat litter tray or budgie cage.So, it did come as a surprise, when we opened City Life, that Inc. andIncorporating Writing had been on the receiving end of a critic and I leaveyou with their words and a glowing pride in what we are trying to do here:
"GIVEN that Inc. is ‘a new wave in UK writing’, you’d be forgiven for dismissing it as another site devoted to fiction and poetry by would-bewriters. But Inc. is a bit different. Based in Ashton-under-Lyne, thewebsite launched at the end of last year and exists to promote literaturein the UK: listing events, marketing small press magazines and running articles on writing, by writers. Primarily, though, Inc. seems to be a promoter of poets. Heading the webpage is a list of ‘incwriters’, selected from publications such as Poetry Review and including Graeme Mort and JuliaDavis. Click on their names and you get a short biog, samples of their workand details on how to book them for events. When it comes to reading material, Inc. rather cleverly brings together original articles with thosereproduced from the magazines it has close links with. So, in the currentedition, Blake Morrison talks about his memoir and his love of The Movementwhile Anthony Cropper discusses the follow-up to his debut The Weatherman(Route). A quirky feature offers a day in the life of Peoplespoet.comeditor Paula Brown (which seems mainly to consist of her retrieving thingsfrom under her children’s beds) and poet Ian Parks gives an honest look atthe highs and lows of poetry readings from the point of view of audienceand writer. The mass of websites devoted to new writing, literary news, new magazines and e-zines can be bewildering at times - hence the emergence of these ‘one-stop-shops’ for lit lovers. It’s likely we’ll soon be overrunwith these, too, but for now Inc. provides some good reading and new information - definitely mightier than a lot of other crit out there, aswell as the sword".
 This months edition includes new interviews with Hilary Mantel, RogerMcGough and Steve Aylett. An article on writers block by Roselle Angwin, aday in the life of Julia Bird from the Poetry Book Society and an insightin a behemoth of UK Literature Magazines, The North.PS Some great news as well, Peter Lewin has been reading in the USA, ajoint partnership between Kendal Press, Incwriters,The Bowery Poetry Club,Bob Holman, to promote Peter's writing and collection Silverdale in theStates. The tour is going phenomenally well with Peter selling hundreds ofbooks at each reading. We will bring you more information on this in theAugust edition.
 
----------------------------------------------------The Pop and the Passion: Roger McGoughInterview by Bixby MonkAward-winning poet, playwright, broadcaster and children's author RogerMcGough was born on 9th November 1937 in Liverpool, England. He waseducated at St Mary's College, Crosby, Liverpool, and at Hull University.He taught at St Kevin's Comprehensive School, Kirby, and lectured at MabelFletcher College in Liverpool and at the Liverpool College of Art. He was amember of the pop music/poetry group 'The Scaffold' between 1963 and 1973.He made his name as one of the 'Liverpool Poets' with Adrian Henri andBrian Patten, included in The Mersey Sound: Penguin Modern Poets 10 (1967).
 
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A Fellow of John Moores University in Liverpool, he won a CholmondeleyAward in 1999 and was awarded an honorary MA from Nene College of FurtherEducation. He was Fellow of Poetry at the University of Loughborough (1973-5), Honorary Professor at Thames Valley University (1993) and is a memberof the Executive Council of the Poetry Society. He was awarded an OBE in1997.He has twice won the Signal Poetry Award: first in 1984 with Sky in thePie, then again in 1999 for Bad, Bad Cats. He is also the author of anumber of plays, including All the Trimmings, first performed at the LyricTheatre, Hammersmith, in 1980, and The Mouthtrap, which he wrote with BrianPatten, produced at the Edinburgh Festival in 1982. He wrote the lyrics foran adaptation of The Wind in the Willows first staged in Washington, DC, in1984, transferring to Broadway in 1995. He has written for and presentedprogrammes on BBC Radio including 'Poetry Please' and 'Home Truths'. Hisfilm work includes Kurt, Mungo, BP and Me (1984), for which he won a BAFTAaward, and he won the Royal Television Society Award for his scienceprogramme The Elements (1993).His most recent book of poetry is Everyday Eclipses (2002) and hisCollected Poems, bringing together over forty years of McGough's poetry.His live poetry album, Lively, is now out on CD.The Mersey Sound had a major impact on the sixties UK poetry scene. ThePost-War poetry world was one of academia rather than performance. TheMersey Sound was one of the first accessible poetry books for a publicaudience.How did you become involved in the scene and the book?I began writing poetry when I was at the University in Hull, some of myfirst poems were written there, and I was just writing for myself. I wasn’tpart of any group and didn’t know anyone who wrote poetry at University,there were people, of course but I didn’t mix with them. Phillip Larkin wasthe sub-warden of this small hall of residence, called Needler Hall, but hewas someone who was a remote figure amongst the students and there was noreal contact there. So, when I came back after University, back toLiverpool, I began to go into the town centre. Having lived out in thesuburbs, I used to go into the town centre, to the clubs and there was amovement going on as poetry as performance. I used to read about the Beats,and listening to Howl, I had the record of that and Christopher Logue whorecorded poems by Neruda to Jazz and I know Laurie Lee was doing it inLondon, Michael Horovitz and people like that.They used to do readings in Liverpool, in a coffee bar called ‘Streats’ andthen there was regular poetry and jazz evenings there, with local poets; aBeatnik atmosphere and I went along and started doing readings there. I metAdrian through that, I’d seen him around, he was an art college lecturerand then Brian turned up one night. He was very young then and a journalistfor the local paper. He was there to see what was going on and that’s howwe met each other. We didn’t team up, the problems then being that Brian inparticular was younger, and I saw more of Adrian than Brian socially but wegot involved in doing things. At the time of course, this was when TheBeatles were around and there was a focus on Liverpool. Local televisionwould put us on the air reading poems in clubs or in the cemetery of theAnglican Cathedral with a group of art students all sitting round, itlooked very glamorous and great, and probably caught people’s attention.I didn’t know this, but Brian says that the then Poetry Editor of Penguin,had heard of Brian and of me. He wanted another poet and Brian suggestedAdrian. At that point the Editor wasn’t sure who he was going team up inthis book. So, in the same way as ‘The Scaffold’ came together, to justmake an alignment, we didn’t actually seek each other out as a group, a

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