On the Movements of Bodies
On the Movements of Bodies
I now have copies of Drawing a Diagram available to purchase directly from me.
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 – cheques, cash and barter are all possible. 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.
II The Director’s Cut
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.
I’m thrilled that Aldrich Press, an imprint of Kelsay Books, has agreed to publish my first collection, Drawing a Diagram, in early 2017. It’s a US small press run by the redoubtable Karen Kelsay and publishes many poets I admire, including Christine Klocek-Lim, C Wade Bentley and Jean L Kreiling.
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!
Angle issue 8 has arrived, and I’m delighted to have three poems included. The editors have decided to move to one issue a year, which means they aren’t continually sifting submissions, and this seems to be working well for them. It’s a massive issue – 109 pages, including an ekphrastic supplement in the middle (which I always get a bit confused by, as it has its own contents and page numbers). There are a lot of excellent poets included. Take a look.
I’ve just received my contributor’s copy of Oxford Poetry, and I’m rather stunned to find myself alongside such poets as AE Stallings and Clive James. I haven’t read much in detail yet, but if all the poems are as good as the first (The Beginning, by D Nurkse), I’m in for a treat.
Extremely pleased to have a poem in issue 87 of The Frogmore Papers.
There are a number of magazines that chug along without any external funding or assistance, and make this whole business of publishing poetry possible. They run an annual poetry competition, closing date 31st May – well worth a try.
As a sort of displacement activity instead of actually writing, I’ve been submitting a few poems. I was very pleased to have ‘Earth-bound’ up on Autumn Sky Poetry Daily, a site that delights me the more I read it. Recently it has included work by S Thomas Summers and R Nemo Hill, names I recognise from various internet workshops, and ones I’m delighted to rub shoulders with.
I am equally thrilled to have an acceptance from Oxford Poetry, a magazine that is ‘over 100 years old. It is probably the oldest dedicated poetry magazine in the world today.’ I think I might again be pleased when I see the company I’m in. Pass me that dreaming spire when you’re done with it.
There are a number of poetry blogs that publish poems every day, or every few days, without fuss or bother. Just good poems, simply displayed. Poetry Daily picks poems from recently published books and magazines. Other sites ask for submissions (though sometimes intermittently): And Other Poems is one, and so is Autumn Sky Poetry, where I was delighted to have a poem on 21st January.