Location Composites / Ignite 2014 / The Postcolonial Arctic

•April 7, 2014 • Leave a Comment

The Polyply site specific collaboration which I took part in, Location Composites, is now up online to listen to here, with a recording of the sound piece performed by Sarah Hughes, Kostis Kilymis and Artur Vidal, based on words by myself and the poets Chris McCabe and Andrew Spragg. This was the sixth composition in James Saunders’ site specific series; it also features on the Location Composites website here with full details on the site itself (directly underneath the clock at Waterloo station, 51°30’11.6″N 0°06’44.6″W), and the process. The night itself took place at the Centre for Creative Collaboration and included, alongside a research talk by myself relating to forests and the concepts of feedback systems and echo, a reading by Andy Spragg (see blog).

Ignite 2014 at the Natural History museum was an incredible experience, bringing together 14 speakers giving lightning talks on their arts-science collaborations (from turkey bones to Bob Brown’s Reading Machine); I’ve heard that the filmed talks will be up online soon (this is the project blog). My own discussion attempted to quickly present the Time, the deer exhibition in the context of the relevance of forest memory as a form of civic monument, and the role of trees to environmental scientists but also in social imaginations of the environment (see the image from The Woodland Trust’s Centenary Woods campaign, below). Silviculture is already a necessarily interdisciplinary field, crossing traditional boundaries and asking questions about the role of nature in ‘natural history’, so I tried to quickly present the science of dendrochronology alongside some discussion of the philosophies of social and environmental memory, and the role of trees in cultural projects – which opens up into thought about the new roles of “public geographies” in cultural projects, casting the critical researcher as a curator and commissioner as much as a reader and writer. For those interested, energies are still gathering for future activities via the Forest Humanities jiscmail I set up last year…


we will stand


Finally, the programme has just been released for my first School of English event at my new institution, the conference on The Postcolonial Arctic, 30-31 May here in Leeds, run by the Arctic Encounters research group (@arctic_encount). The full programme is here, and one of the keynotes will be by Dr. Michael Bravo


Talks this week/ Passengerfilms unveiling

•March 25, 2014 • Leave a Comment

Tomorrow I’ll be back down in London to talk at the public symposium Ignite at the Natural History Museum, which brings together a shortlist of fifteen early career researchers doing inspiring work in arts-science collaboration, in an event put on by the AHRC Science in Culture project – I’m profiled here on the website with some details on my talk. The event is free, but there’s currently a waiting list as it’s pretty much booked up – but it should be really good, with a drinks reception afterwards in the museum, and with the talks including at least one other curator-academic (working on Environmental Science at the British Library): eventbrite link here. While I’m down I’ll also be reading and talking at the series Xing the Line on Friday night (7.30pm, the Apple Tree pub, 45 Mount Pleasant, Clerkenwell WC1X 2AE), alongside the poets Robert Kiely and Gilbert Adair.

I haven’t been updating here as much as I should while settling in at Leeds, but a number of events to mention: the POLYply site-specific collaboration, Location Composites, designed by the composer James Saunders, will shortly be uploaded as a sound recording online, so I’ll link to that from here. My next talks to be given will be, respectively, at Framing Nature (a biosemiotics conference in Estonia – please do get in touch with me if you are also attending, as I’m going to navigate plane and hostel bookings soon), and on Monday the 12th May at the public symposium British Waters and Beyond: The Cultural Significance of the Sea Since 1800, at the Royal West of England Academy in Bristol in association with their exhibition The Power of the Sea. On the 20th May I’ll be talking on environmental glossaries at Robert Macfarlane’s Modern & Contemporary seminar series in Cambridge – link and details to follow (hoping to tie this in with a visit to the Scott Polar Research Institute, as I’ll then be speaking about a week later at the Arctic Encounters conference at Leeds, on The Postcolonial Arctic).

Finally – some photos today of perhaps the most exciting recent event – the third birthday of my cultural geography cinema PASSENGERFILMS, which is now moving on in the hands of Landscape Surgery post-grad students at Royal Holloway. This tied in with the Principle’s visit to the department at RHUL, so we had a departmental unveiling of our national awards attended by various university people and staff. The most exciting part of this is that these are now up in the immediate foyer in the exhibition cabinet as you come into the Department of Geography – along with a massive new standing poster…








Starting at Leeds next month

•February 10, 2014 • Leave a Comment

I’m very excited to say that in less than a month I’ll be starting at the University of Leeds as Post-Doctoral Fellow in New Humanities, based in the School of English. Specifically, I’ll be working in the Environmental Humanities research group convened by Professor Graham Huggan and Dr. David Higgins. Though it will be sad to leave Landscape Surgery, I’m excited to work with the different (cross-disciplinary and cross-departmental) trajectories of research in environmental humanities going on at Leeds, not to mention the faculty’s work with arts engagement. Things may be a little quieter on the blog while I move up north and settle in, but I’ll be developing a number of new projects – including a conference on the modern political narratives of forests – which will be made evident here soon hopefully! I’ll also have a few updates on recent events – a couple of photos below – and the various miscellaneous activities going on post-Phd, including most recently my collaboration with Ula Chowaniec on Polish issues with gender and translation, which will be included on the eMigrating Landscapes website shortly (‘the eMigrating Landscapes Project aims at conceptualizing and presenting various cultural, literary and artistic perspectives on emigration, migration and displacement of border crossings’).



‘Amid the Ruins’ at Daniel Blau gallery, Hoxton Square


presenting with Ula Chowaniec at ‘Wrogowie’ at Rich Mix, sponsored by the Polish Cultural Institute and organised by Steven Fowler and Marcus Slease

view from the east site visit

‘View from the East’, first site visit at Colwick Estate, Nottinghamshire, by researchers, artists, and curators from Ordinary Culture

Events kicking off in 2014

•January 22, 2014 • 1 Comment

amid the ruins


I’m not sure what the term is for what I am right now – a post submission but pre-Viva PhD researcher (my Viva is set for the 28th Feb). But it all seems busy now I’m free to generally bum around at seminars and attend any research events and meetings I feel like. I thought I’d put a quick note on here (rather than a proper blog entry) about some of the public events I’ll be involved with over the next few months, in case anyone is around…

On the 29th January – a week today – I’ll be giving an evening talk / reading at the Daniel Blau gallery in Hoxton Square, as the first event kicking off the 2014 run of the series Amid the Ruins (series image above). Alongside myself, William Rowe, and Joe Luna, the fourth reader will be the contemporary political poet Sean Bonney (see for instance his publications Document (2009) and The Commons (2011)), so there should be some good discussion on riots, space, and landscape over some glasses of wine. On Saturday night (the 8th February) I’ll be presenting a collaborative work at Rich Mix as part of the cross-disciplinary event Wrogowie: Polish Poetry run by The Enemies Project and co-curated by Steve Fowler and Marcus Slease). I’ll be paired with the Polish poet and academic Ula Choweniec, who teaches at UCL, and other paired collaborators are listed here. This event is supported by the Polish Cultural Institute and will also be preceded by the reading and discussion eMigrating Landscapes at the School of Slavonic and East European Studies on Friday evening.

On the 24th February (Monday) there will be the next Passengerfilms session, curated by the Cultural Geographies MA students as part of the Royal Holloway Science Festival, which will tackle the play worlds and imaginary worlds of children. This will be our first attempt at an MA-run event so it’s exciting to see the student team running with the ideas as we gear up for the rest of the screenings (three or four next events are being finalised at the moment so that hopefully we can advertise them all at once). On the 26th February (Wednesday) I’ll be presenting a midday Media Arts research seminar on the Passengerfilms curating project (and perhaps drumming up some future collaborations). A fair way off still, but on the 12th May I’ll be speaking at the Royal West Academy, Bristol, as part of the public interdisciplinary symposium British Waters and Beyond: The Cultural Significance of the Sea Since 1800 (in partnership with Leeds Metropolitan and Oxford Brookes). For those interested in the topic of historical geographies of the sea, there’s also a slightly earlier conference based in Oxford which has a great selection of speakers – including geographers and literary scholars – though I’ll only be attending, not presenting: Coastal Cultures of the Long Nineteenth Century, 1775-1914.


view from the east


In the meantime, I’m off to Leeds early next week for my first academic interview and interview presentation (!), followed by a trip to Nottingham for the site visit for an emerging project, ‘View from the East: Landscapes of Stories-so-far’, which will be run by the arts organisation Ordinary Culture around the Colwick wood and estate. I’ll be contributing to the public programme on the temporal understandings of Colwick wood and its archived materials, so am excited to meet up with them and see the space (partly visible above: Jan Siberechts’ ‘View of Nottingham from the East’, painted from Colwick Hill, c. 1695). There are a couple of more events and talks in the works which don’t have specific dates and times yet – including an evening lecture which I’ll be giving in the wonderful new series Print Screen: Writing and the Moving Image at Westminster (which so far has been very literary-geographical, beginning with David Herd’s talk on immigration and the political coastline of Dover), and a group event in February with a performance and round table at the Centre for Creative Collaboration, with musicians and writers collaborating on specific places, following on from James Saunders’ Location Composites project.

All quite exciting interventions in what I presumed was going to be quite a vacant start of the year (for job hunting, reviews, and manuscript editing.). It’s quite amazing being a PhD student with no PhD to do…!

PhD submitted / Dandelion launch

•December 13, 2013 • 2 Comments


I am very happy to say that last week – after four years’ work – I submitted my PhD. Given how short a time the physical copy was in my company (between the bookbinders in Finsbury Park and the thesis submission desk at Royal Holloway), I managed to take a good number of photos of it! A couple of pages, below, give a sense of the blurb and contents, if anybody is curious about what I’ve been working on…



Last night was also the launch of Dandelion’s special issue on ecology (vol 4., no. 2, 2013). The entire issue is now available online here, including a report on the Silent Spring conference (at which I gave my paper ‘Technology and “Tongues in Trees”: Modern British Poetry and Late Twentieth Century Forestry’), as well as a review by Natalie Joelle of my exhibition Time, the deer, is in the wood of Hallaig, available here. Also, my little experimental diagram sequence, Suckers, is published here in the journal, alongside work by George Ttoouli, Dez Mendoza, and Emily Candela. At the launch party last night I gave a short talk about standardised environmental languages, and read some new work, including the forthcoming chapbook GLOSS (2014) and the sequence GLITCH (cover image below). Thanks to editors Sophie Jones and Fiona Johnstone!


glitch image


Next: a few book reviews and articles, but mostly, jobhunting…

Coasts & Gloss

•November 1, 2013 • Leave a Comment

coast sheringham1


I’ve just got back from my talk on coastlines and non-mainstream British literature and book works, for the event Art & the Sea at Sheringham Little Theatre, organised by the University of East Anglia and the Sainsbury Centre for Visual Arts. By a weird coincidence – as if we needed any more proof that the coast is seen as a perfect conduit at the moment for public environmental culture – this coincides with a number of other festivals and events. Shorelines, the literature festival of the sea, is running from the 8-10th November in Leigh on Sea, and includes – as well as performances by a few friends, including an estuary audio piece by Justin Hopper – the debut performance of Caroline Bergvall’s DRIFT. I’ve written previously on this blog about Bergvall’s forthcoming DRIFT, which works with Anglo-Saxon seafaring texts and problems of language (and will be out from Nightboat Books next year). A teaser can be seen here; her performance is also supported by another friend, Tom Chivers, with his press Penned in the Margins. At my last talk, I mentioned Caroline’s work with this North Sea travel text; from the website’s blurb:

a performance (…) by internationally renowned writer and artist Caroline Bergvall and Norwegian percussionist and rising improv star, Ingar Zach, and visuals by Thomas Koppel. Inspired by the language and themes of Seafarer, an anonymous, 10th Century Anglo-Saxon poem, DRIFT takes you on a journey through time where languages mix and text, voice and live percussion conjure up the ancient to cohabit with the present. A contemporary meditation on migrancy, exiles and sea-travel.
Bergvall and Zach visit and invent a language of extremes: from the most ancient pool of English and Nordic poetry to the lyrics of current pop songs and the legal speak of controversial human rights reports, in order to create a vocabulary that speaks resolutely for today. Electronic texts by Ciaran Maher and slow moving video work by Eva Roovers and Erica Scourti provide the visual and spatial dimension to this deep language work.

The full programme for Shorelines is available in PDF form here. Meanwhile, in Kent, the exhibition Tides of Change, part of Kent’s Coastal Week, has been running over the last few days – ending tomorrow. It includes an appearance of Richard Skelton’s Corbel Stone Press work Limnology, which I have also mentioned here, and which alongside the musical recording also ‘assembles over 1000 ‘water-words’ from the dialect of Cumbria and its tributaries in the Germanic and Celtic languages, and presents them in a way which typographically imitates riverine processes’. The rest of the exhibition sounds good too, in this rather breathless explanation: ‘LV21 will be awash with coastal themed artwork throughout the decks, cabins and passageways; from a selection of works by artist Billy Childish to Anna Falcini’s intricate line drawings and Estuary Eulogies, from Fiona Spirals’ Ripping Landscapes and poems to Laurie Harpum’s ‘Cliff Creatures’ and Julie Bradshaw’s installation of memories, from ‘Mudlark’ Nick Stewart’s driftwood furniture and Malcolm Wright’s instruments to Paul Fowler’s paintings on salvaged timber, from Daniel Nash’s concrete ‘floating anchors’ to Germander Speedwell’s verses…’

Finally, the poet and academic David Herd will be speaking on Tuesday the 12th November to the title ‘The View from Dover’ as part of a brand new event series, Print Screen: Writing and the Moving Image (7pm, the Old Cinema, University of Westminster, 309 Regent Street). Two of Herd’s own publications – All Just (Carcanet, 2012) and Outwith (BookThug, 2012) – deal with the politics of the Dover coastline, particularly the various holding spaces and holding process at the Dover Immigration Removal Centre. His work is also very informed by Charles Olson’s concepts of the coastal limit, Okeanos, and the ‘Figure of Outward’ in The Maximus Poems. For this reason, I mentioned both of the Herd texts at my own talk on modern coastal poetry on Wednesday. The event blurb for the 12th:

(The talk) takes its bearings from the site of The Citadel on Dover’s Western Heights. Originally constructed at the time of the Napoleonic Wars, as part of a network of fortifications, The Citadel knew various functions before its present use as an immigration removal centre. Starting at the building itself, with its iconic location, the talk asks what it means to view contemporary culture from such a contested site. Focusing questions of movement and belonging, Dover’s Citadel offers one of the most striking views in modern Britain. What becomes visible from a site held legally and linguistically just outside?

David Herd’s online sequence OUTWITH, in last year’s issue of the online journal Almost Island, is also worth reading beforehand if you plan on attending the event (‘It stands at the limit. A question of holding.  / From the cliffs it is possible to witness France. / (…) It is a language question also, so to speak’).

My talk on Wednesday also approached ideas of diasporic language at the coast (note the importance of the phrase ‘so to speak’ in that line from Herd). I went for a number of well known texts as well as the small press experimental books – including Daljit Nagra’s use of dialect in his response to W. H. Auden’s ‘Look, stranger, on this island now’ and Matthew Arnold’s ‘Dover Beach’ (1867) in the titular poem of his 2007 collection Look We Have Coming to Dover. The event – as part of the Sainsbury Centre’s Art & the Sea programme and exhibition, and in collaboration with the University of East Anglia – also involved the artist Rachel Wilberforce discussing modernist bungalows and lost sea villages, Claude Cattelain‘s performance on Sheringham beach, and artist and sociologist Charlotte Humphrey’s local video work. The artists Dan Harvey and Heather Ackroyd also gave a great talk on their work Stranded (2006), which involved collaborating with the Cetacean Stranding Programme and growing crystals on the skeleton of a minke whale washed up in Skegness, and also discussed their Antarctic residency with Cape Farewell, the art programme working on climate change.



Cape Farewell are also running their own exhibition and late night launch event on Thursday the 7th November, Sea Change, ‘with seaweed, science and song’: ‘Fresh from Cape Farewell’s sailing journey on the 113-year-old Swan from Orkney to Shetland, artists are preparing for the Sea Change exhibition at the Royal Botanic Garden Edinburgh (…) Bringing together 19 artists, from both our 2011 and 2013 Scottish expeditions.’ As yet another coincidence, my friend Hanna Tuulikki’s visual score for Guth an Eòin | Voice of the Bird will be on display as part of the exhibition…

Also, it was good to see Ackroyd & Harvey’s images of the ice and snow phenomena they worked with on their Antarctic trip, as my previous talk on Oct 16th, for the Practice-Based research seminars evening series at the Centre for Creative Collaboration, included my first presentation of new research which I’ll be doing at the Scott Polar Research Institute in Cambridge after submitting my PhD. This will be for an article called ‘Translating ice: 20th century glossaries and Arctic nature’, for a forthcoming special issue of Ecozon@ (European Journal of Literature, Culture and Environment) on ‘Northern Natures’:

This paper will examine the construction of global vocabularies of cold from the mid twentieth century onwards, beginning with the Illustrated Glossary of Snow and Ice (Scott Polar Research Institute Special Publication) assembled by Charles Swithinbank and other professional Arctic explorers, and the material stories which relate to the recording and dissemination of these standard terminologies for ice and snow. This includes the international coding of messages due to the shared governance of the Arctic and the facsimile radio transmission of weatherfaxes and ice charts, but also traditions of bibliographic illustration for the identification of dynamic features in the subzero landscape (such as E. A. Wilson’s analytical sketches). This paper will map the changing technologies for reporting these phenomena of the cold, following this through into modern online databases such as the navy’s Arctic Forecaster’s Handbook and the National Snow and Ice Data Center’s Sea Ice Glossary.

The provenance of these cold vocabularies will then be set within wider research on the cultural and literary lexicon of snow and ice, including the reception of the “Eskimo Vocabulary Hoax” in linguistics and literature. Igor Krupnik’s recent work on Inuit sea ice terminologies and Julie Kruikshank’s indigenous oral histories of glaciers will be balanced against the literary contexts depicted by Spufford (I May be Some Time: Ice and the English Imagination) and Wilson (The Spiritual History of Ice: Romanticism, Science, and the Imagination). These will be used to explore the famed trope of the semantic slipperiness of ice and snow. The vocabulary histories presented above and the idea of a globally useful and meaningful language will then be measured against the cultural histories which continue to imagine the languages wrought from the cold as difficult and unstable.

A couple of the slides from my talk are below:





The same research materials – on language interference, Arctic radio, weatherfaxes and landscape – have also gone into the most recent chapbook I have written, GLOSS. Though the text is written, I’ll be working on the setting and design following my PhD submission, and I’ve currently been playing with some potential cover images and illustrations (below). (If anyone would like to help me choose, I actually have a whole stock of potentials over on my Flickr account here!)




Finally, on coastlines and water: while PASSENGERFILMS has already had its coast-themed screening, we’ve been working on water on our recent screenings. Last week’s Blackfish screening at Somerset House included five guest researchers speaking on cinema, the film spectacle, animal philosophy, and sea parks (some of my photos are below). Our next screening is specifically on inland water – on the governance of water and its relation to society. We’ll be screening Pumzi (2009), the first ever Kenyan sci fi film, the public information ad ‘Dark and Lonely Water’, a 1962 archival German short narrated from the point of view of a talking dyke sluice, a Polanski feature, and three talks. The full information will be released in the next couple of days on the PASSENGERFILMS blog, but the event will be on Friday the 22nd November, and it will be our first night at our brand new pop-up venue on Hoxton Square designed by the architects Shoreditch Works. Put it in your diary if you’d like to come!


This is my last internet post – and these were my last public outings! – before my PhD thesis submission in around four weeks time. But I will be attending David Herd’s event on the 12th: so if anyone’s going, I’ll see you there…

Free events: C4CC seminar and The Coast is Our Masterpiece

•October 6, 2013 • Leave a Comment
seminar photo 2

image from Time, the deer, is in the wood of Hallaig


While I’m not technically a practice-based PhD student, I’ll be giving a seminar on the evening of Wednesday the 16th October for the Poetics Research Centre, as part of the Practise-based series which takes place at the Centre for Creative Collaboration (16 Acton Street, WC1X 9NG). I’ll be presenting alongside Eley Williams, who works on lexicography, dictionaries, and creative fiction. The seminar series has its own blog here, and it’s run out of the Practice-based PhD Programme, but is also open to interested members of the public. My own talk will be called ‘Working with cultural geographies of the coast and the forest’, and I’ll discuss cross-disciplinarity and modern poetry, as well as some of the outputs of PhD research beyond scholarly writing, particularly my curating practice, and the exhibition Time, the deer, is in the wood of Hallaig. This paired the marginal small press writings I research – usually only accessible in archives – with book works, wood works, specimens, and installations from forty writers, collectors, and artists, alongside materials on loan from the Kew Museum of Economic Botany, English Heritage, the London Metropolitan Archives, and the UCL Dendrochronology laboratory. I’ll also present my experiences as an exhibiting artist in Nature Reserves at GV Art Gallery, a group show on environmental memory and taxonomy, and discuss the relationship between my research role and creative projects, including  an illustrated reading of my next publication, GLOSS, which draws from weatherfaxes and twentieth century environmental glossaries.

The seminar will run from 5-7pm and will include the two presentations (I’m second) as well as open discussion, and no doubt the pub afterwards. For full information – including the blurbs and related images, and the rest of the seminar series – see the online post here. I also have my own page as part of the practice-based blog, which details some of the creative projects which I’ve taken part in alongside my academic work.


Rachel Wilberforce, Untitled 4, 2013

Rachel Wilberforce, Untitled 4, 2013


On the evening of Wednesday the 30th October I will be giving a public talk at Little Sheringham Theatre, on the North Norfolk coast, for an event run by the Sainsbury Centre for Visual Arts and academics from the University of East Anglia as part of the Art and the Sea programme and the ‘Art and East Anglia’ exhibition.  The event is called The Coast is our Masterpiece and it runs from 4-7pm; it’s free, but places must be booked here. I’ll be talking alongside the artist Rachel Wilberforce, the photographer Jeremy Webb, and the sculptors Ackroyd and Harvey. They’ve each engaged artistically with the Norfolk coastline, from Wilberforce’s studies of the fading architectural archetypes of East Anglian coastal villages – combining 1930s Modernist utopianism with the aesthetic perception of the North Sea – to Webb’s ‘Atlantic Basin’ photographic series around rising sea levels and the issues of the management (or non-management) of the Norfolk coastline. As Webb writes in his online essay introducing the project, ‘if carefully and sensitively managed, certain coastal habitats can be returned to the sea once King Canute can be encouraged to “let go”‘.


jeremy webb 2

from Jeremy Webb, Atlantic Basin Project, volume one

jeremy webb

from Jeremy Webb, Atlantic Basin Project, volume one


Ackroyd and Harvey’s work includes a shoal of 30 small fish skeletons put through chemical crystallisation – a nod to the changing chemical balance of the ocean – and the 2006 work Stranded, created with the Cetacean Stranding Programme, which cleaned and chemically immersed the skeleton of a minke whale which had been washed up in Skegness, Lincolnshire.

My own presentation – illustrated with images and scans of small press publications – will discuss the literary cultures of the east coast of Britain and the North Atlantic seaboard, tracing Norse influences in modern poetry and literature. I’ll make visual references to the links between language and invasions, coastal history, and ship-sailing, as well as giving examples of texts which engage with land management and coastal erosion in East Anglia, such as Wendy Mulford’s East Anglia Sequence (1998) – and the linguistic punning on this site where settlement and the sea contend possession.


Ackroyd & Harvey, Shoal, 2012

Ackroyd & Harvey, Shoal, 2012


Interestingly, Ackroyd and Harvey have also created some striking works on the theme of forests and memory, notably their History Trees at the Olympic Park (‘A tree marks time … These trees embrace metal rings which have been engraved with a record of the site’s history, held in the branches for successive decades to come’), an exemplary demonstration of the associations between woodland/ trees, artistic culture, and national legacy – what Jones and Cloke have referred to as ‘arboreal memory’. Another example of their use of the traditions of commemorative plantation is the work Beuys’ Acorns, germinated (literally) from Joseph Beuys’ ’7000 Oaks’. (I will be writing on this theme slightly more in depth for the Memory Network blog and the Rachel Carson Center blog, Seeing the Woods, in a couple of months time.)


new sylva


On a related topic, on the 30th November the Sylva foundation are running a day course in Oxford which will combine talks on John Evelyn, twenty first century forestry, ash dieback, and the role of academic research and of art in modern woodland culture. The authors of the forthcoming illustrated publication The New Sylva (‘a discourse of forest & orchard trees for the twenty first century’) will also be presenting – see above. The book’s copy-editor has written some reflections on forestry and woodland culture here – and her name is almost as suitable as that of forest law essayist John Manwood… The event is called ‘An Extraordinary Year for England’s Woodlands’ and spaces can be booked here. The event actually takes place the day immediately following my PhD submission on the 29th November, but I hope to be there if I can practically make it! Also, a reminder for anyone who’s interested in receiving notices of this kind: the Forest Humanities JISCMail, which I run and which is free to join, is for sharing announcements of events, publications, and ongoing research in the culture of trees and forests, bringing together academics and researchers from different institutions and fields.

Finally – I have a poem coming out in the below cross-disciplinary anthology, edited by George Ttoouli and Yvonne Reddick and published by Nine Arches Press, which will be launched at a lunchtime party on Thursday the 17th October in Warwick, complete with apples and cider.


Apple Anthology Cover-page-001


This will probably be my last blog post until my PhD submission deadline – the 29th November – although I will still be involved in Passengerfilms events (the next screening at Somerset House is fully booked, but we’re about to unveil our new pop-up venue built by some Hoxton architects, beginning with our November screening). The manuscript for Peter Riley: Critical Essays, which I’m currently co-editing with Alex Latter for Gylphi, is also about to be sent off to the publishers in the next few days, which we’re quite excited about. Apart from that I am largely stuck at home working! The materials for my PhD introduction (below) are currently creeping across my living-room floor…


phd introduction

See you on the other side!


Get every new post delivered to your Inbox.

Join 96 other followers