I really couldn’t ask for a better view of Drawing a Diagram than this. Many thanks to the very generous JR Solonche and Green Mountains Review. And it includes the poem http://biochemical-pathways.com/#/map/1 with a link so that readers can see what I’m talking about!
Drawing a Diagram was launched at Blackwell’s bookshop, Sheffield on 6th April.
My great friend and co-editor Noel Williams gave a brief and very kind introduction, and he and another dear friend Kate Rutter also read a few poems just before the interval.
Some of my poems are not the easiest to grasp on first hearing, so I included some visual aids to illustrate some of the poems – here’s me with a dodo reading ‘On the movements of bodies’, the first poem in the collection. I think it was particularly useful for the poem entitled http://biochemical-pathways.com/ !
Look at this marvellous hand-painted silk scarf! My wonderful husband Ian Badcoe had it made to celebrate the launch of the book – it illustrates part of the book cover, one of the exquisite drawings of Radiolarians drawn by the naturalist Ernst Haeckel.
I now have copies of Drawing a Diagram available to purchase directly from me, ahead of the official launch event.
If you’d like a copy in the UK, it’s £11 including p&p (£10 if I can drop it off to you personally). Let me know if you want me to sign it!
If you use paypal you can pay directly and easily via paypal.me/RosemaryBadcoe and send me an email via the form. If you don’t like paypal, drop me an email and we’ll arrange something. See below for full book contents.
What do you get for your money? 7131 words, arranged in the best possible order in 55 poems, including this one, published in Oxford Poetry:
To hear this message again, press one.
To scrunch the phone between your ear and shoulder
while leaning sideways, pulling on your boot
and not have the door swing wide to dump you
on the floor, press two. To have a rest from
Dolly Parton crackling down the line, press three.
Press four to indicate you’re searching for a meaning.
Press again for a selection of solutions we’ve prepared,
running all the way from fundamentalist
to a neo-atheistic multiverse where you can
revel in the expectation that the other yous
are making love to [insert idol here].
If you’re able to explain, defend or merely
grant that you were wrong, press five.
Contrition will reduce the length of time you spend
on hold. A signed confession (pressing six)
means you can skip directly to the sentencing
and miss out seven. Never go for eight.
There is no number nine, no nine-nine-nine.
We’re not up to handling crises at this
time of night. Press hash to indicate that that
is what you’ve made of things. Now cease
to give a toss. You’re born of stellar nucleosynthesis.
You’ve higher things to do than listen here.
Go fulfil your destiny. Press star.
I The Wiring Plan
On the Movements of Bodies
A rainbow is not an object and cannot be physically approached
Shooting the Breeze
The International Celestial Reference Frame
The Star Goat Reaches for the Earth http://biochemical-pathways.com/#/map/1
The Last Fig Tree
It Must be Science
II The Director’s Cut
Carpentry at Midnight
Nocturne for Suburbia
Elementary Catastrophe Theory
DisclaimerIII The Last Act
Fall of the Cards
Drowning Doesn’t Look Like Drowning
Waltzing Without Music
The One That Got Away
The Last Act
I’m delighted to announce the publication of my first poetry collection, Drawing a Diagram, from Kelsay Books.
It’s available on Amazon in the UK for £11.48 and on Amazon in the US for $14.00. I’ll be selling copies myself shortly, when they arrive from the US, and will also be organising a launch in Sheffield.
I’ll post some extracts and readings from the book shortly, but here are the very kind and generous comments made by three poets I greatly admire. I’m very grateful to them for agreeing to read the draft publication and let me have their thoughts.
“Rosemary Badcoe’s first collection is about time, in both senses. It is overdue and testament to a subtle poetic intelligence deserving of a wider audience. It is also about how we quantify the revolutions of light and space, and those isolated moments when scientific enquiry and individual experience interact. For all the coolness of Badcoe’s work, its poise and measure, there is huge intensity beneath its surface, and sly humour, and much beauty.”
– Conor O’Callaghan, author of four collections of poetry published by Gallery Press in Ireland and Wake Forest University Press in the US, including Fiction and The Sun King.
“On reading Rosemary Badcoe’s Drawing a Diagram I am reminded very much of the poetry I meant to write, but was rarely able to. I am also convinced that hers is an intellect worth getting to know. To be more specific, I find in her poetry, more often than not, the same juxtaposition of the intimate and the infinite that I find in that of Stephen Edgar, which comparison, I hope, speaks for itself. This is poetry which is considered, without being overcooked, and language which is precise, without being precious. Overall, Drawing a Diagram is an extraordinarily mature body of work for a first collection. I am particularly pleased that we have been able to publish some of her work in Angle, and look forward very much to being able to again in future.”
– Philip Quinlan, poet, Co-editor, Angle Journal of Poetry in English
“Here is a strong, substantial, even at times startling, first collection. It’s full of intellectual and emotional stimulation, the cerebral and the intimate sparking off each other as the many different discourses do. Badcoe ranges over time and space, science and art, the personal and the global. She surprises us with imaginative revelations, but never dictates our responses to them. The poems and the images are very much open to interpretation, always a strength in poetry. We can see her as a descendant of the Metaphysical poets, offering us poems that make us think and feel, appreciating both the wit and seriousness of this work. However, this poet clearly lives in and speaks from our own world with all its confusions, from how to cope with romance to global disasters. All these materials are woven throughout the collection but perhaps the most important question that arises from this work for me is that of perception. How do our minds work? Badcoe asks this brilliantly but we must answer – “cast off”!”
– Harriet Tarlo, whose publications include Field and Poetry 2004-2014, Shearsman Books, and behind land: poems and paintings, with Judith Tucker, Wild Pansy Press. She is editor of The Ground Aslant: An Anthology of Radical Landscape Poetry, Shearsman Books.
I’d also like to record my thanks to Karen at Kelsay Books for her care and attention.
It’s been fun selecting the poems and shuffling them into some sort of order, and then sticking my neck out and asking people if they’d be kind enough to write a short blurb for the cover. I’m deeply gratified that three poets I’m very fond of agreed immediately!
I’ve been a little distracted by events in the UK recently, but I should record my delight at being in issue 173 of Envoi, the magazine run by the excellent Cinnamon Press. It’s an good mix of lyric poems, features and in-depth reviews, and I am reading it with interest.