Moods of Silence:Reflections in Verse and Prose Through a Deaf Poets Eyes

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Jump to:. Alliteration The repetition of initial stressed, consonant sounds in a series of words within a phrase or verse line. Allusion A brief, intentional reference to a historical, mythic, or literary person, place, event, or movement. Aphorism A pithy, instructive statement or truism, like a maxim or adage. Assonance The repetition of vowel sounds without repeating consonants; sometimes called vowel rhyme. Aubade A love poem or song welcoming or lamenting the arrival of the dawn. Ballad A popular narrative song passed down orally.

Folk or traditional ballads are anonymous and recount tragic, comic, or heroic. Blank Verse Unrhyming iambic pentameter, also called heroic verse. Concrete or Pattern Poetry Verse that emphasizes nonlinguistic elements in its meaning, such as a typeface that creates a visual image of the topic. Consonance A resemblance in sound between two words, or an initial rhyme.

Poetic Forms and Terms : Poetry Out Loud

Couplet A pair of successive rhyming lines, usually of the same length. Dramatic Monologue A poem in which an imagined speaker addresses a silent listener, usually not the reader. Elegy In traditional English poetry, it is often a melancholy poem that laments its subject's death but ends in consolation. Epigram A pithy, often witty, poem. Epistle A letter in verse, usually addressed to a person close to the writer. Free Verse Nonmetrical, nonrhyming lines that closely follow the natural rhythms of speech. Haiku A Japanese verse form of three unrhyming lines in five, seven, and five syllables.

Imagery These poems are largely concerned with the use of strong and evocative images to create a highly visual, imaginative reading experience. Imagist An early 20th-century poetic movement that relied on the resonance of concrete images drawn in precise, colloquial language rather than traditional poetic diction and meter. Ode A formal, often ceremonious lyric poem that addresses and often celebrates a person, place, thing, or idea.

Pastoral Poets writing in English drew on the pastoral tradition by retreating from the trappings of modernity to the imagined virtues and romance of rural life. Persona A dramatic character, distinguished from the poet, who is the speaker of a poem. Prose Poem A prose composition that, while not broken into verse lines, demonstrates other traits such as symbols, metaphors, and other figures of speech common to poetry.

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Refrain A phrase or line repeated at intervals within a poem, especially at the end of a stanza. Rhymed Stanza The repetition of syllables, typically at the end of a verse line. Sonnet A line poem with a variable rhyme scheme. Stanza Forms. Syllabic Poetry whose meter is determined by the total number of syllables per line, rather than the number of stresses.

Terza Rima. Verse Forms. Link to transcript here. The quartet discuss the variety of barriers they have faced or addressed during their careers. A description of the header image, also used as the episode artwork, can be found at the bottom of this post. A breakdown of which can be found here. This is a relaxed event with quiet space provided. More info at scottishpoetrylibrary. Venue wheelchair accessible via lift.

Films subtitled, BSL interpreting provided. Giles L. Giles will be reading at Putney Library on the 11th or 12th of October date tbc, see website as part of the extended celebrations around National Poetry Day. Ray is gigging all the time so the best thing to do is check dates on his blog or get in touch via Twitter. Resources recommended by the team behind this episode:. In the podcast the group discusses the excellent accessible content of the online literary magazine, Deaf Poets Society. They have a website and apps that feature text and audio recordings of poetry and short stories.

The accompanying artwork is a square image roughly divided into quarters. Everyone supplied black and white pics. The bottom-left corner is the podcast logo, a black circle on a white background. Dark-coloured, long-sleeve top under a yellow vest style dress. Top-right corner is Sandra. The image is shot from above so Sandra is looking up and straight into the lens.

White with short and medium-dark hair, eyebrow piercing above the left eye, dark jumper over a checked shirt. Trousers and boots. Walking stick in left hand. Reminiscent of Manchester-based indie band LP covers from the 90s. Photo by Tiu Makkonen. Top-left corner is divided into two portrait-format pictures. To the left is Raymond, shot from chest up. Ray leans against the edge of a stone doorway. Short dark hair, dark shirt open over a crew neck t-shirt, pendant hanging from a leather necklace. Ray seems to be asking us to buy his latest collection or his latest pop record.

To the right of Raymond is Giles, also shot from the chest up. Giles is sat in front of the architrave surrounding a box sash window and wears a wool jumper over an open-necked shirt. Thank you again to everyone that has listened or taken part in the series in the last 12 months. It has been insightful, exciting, tiring, frustrating but mainly just brilliant. Much love, David. A big thank-you to them for the financial support over the last 12 months. I will, incidentally, be publishing a breakdown of what the funding was used for.

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One final piece of news before I introduce the episode. The British Library has chosen to archive the entire series in their national audio collection. It was recorded in a space given over for free at the Albany Theatre in Deptford, South East London, by the literature organisation Spread The Word, who do fantastic work. You should check them out.

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Thank you in particular to Aliya and Laura for their help and advice there. Okka is joined by Raymond Antrobus and Giles L. Taking Stairs and Whispers as a starting point, the quartet go on to discuss many of the barriers that writers from marginalised groups face when trying to get published.


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Talking from personal experience, the discussion aims to give an overview of some of the issues faced by writers all over the UK. This of course is a starting point for further discussion and not a final statement on any subject and an hour or so is not enough time to cover everything and go into enough detail on each particular topic that came up in the discussion. If you have any feedback or would like to get involved in the discussion yourself, then please get in touch with us via social media and our guests will engage when they have time and energy. Okka, Sandra, Ray and Giles all have gigs coming up, which I would like to plug, but that would make this intro even more rambling than it has already become.

Alternatively, follow the link which I will post in the episode description. If you like what we do, please support us by telling people. Word-of-mouth recommendations, either in person or via social media, really is the most effective form of advertising for us. Support the arts and literature. Again, thank you all for listening. A while ago, David and I had a conversation about interviewing some people we respected and admired, about issues related to access to publishing.

Who gets published? What are the barriers to getting published? How do people get published in different ways, and what impact that has on the form of literature, the content. And so, I have the pleasure today of interviewing three other associates. I will be asking all three of them about their experiences and opinions related to this. It was co-edited by myself, Sandra Alland and Daniel Sluman and features 54 contributors, contributing essays, films and of course poetry.

It is the first of its kind, we think.

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But this episode will not be specifically about that book, although of course it will discuss issues that we have all written about and addressed in the book, whether directly or indirectly. So, maybe start with you, San. As a Disabled woman. Only 4. The proportion of books by poets of colour reviewed is 8. Do better, dudes! All of this, as he says, should remind us of just how homogenous this community has been, which for people outside poetry, they might not know, that the poetry scene is still quite homogenous.

I always like to think of it as leaving no one behind, so thinking about and acting upon how to make something possible for as many people as possible. Ideally, everyone. And then in publishing, because I thought it was interesting you asked what is publishing, so I started to think about that as well, things like books, journals, magazines, zines, chap books, online things including blogs and all of that. It happens on both fronts. They need to know that their route to publication is possible.

They can do this. Working on both ends of the attack at the same time, the publishers and the writers, is important. I started more as a performer. I hope that makes sense. It really resonated with a lot of my experiences too, like not seeing examples out there, low confidence, misunderstandings, jobs. For the most part, I was doing it for my own enjoyment. I did it as a way of relaxing after a busy day at work. But as my sight failed and I had more time, and had developed more confidence in my poetry, I decided I wanted to actually get it out there and try and get it some publications.

I guess I can imagine what it would have been. Technology is usually the demon in this conversation. A lot of websites are not designed with good accessibility in mind. The easiest example is those random-word capture images that validate that you are human. How on earth can I read that? There are alternatives.

Ray, you were speaking about the challenges of going into poetry and not really thinking about publishing and I thought that was super-interesting. What caused the shift?


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What was that shift? I was very much, in the first few years, about slam and about live poetry. I felt passionately about that space because again, it was something I had, I could kind of claim ownership over, without too many concerns and I think I looked at the publishing world, because I did have poetry books on my shelf, growing up, but that always just seemed like another world. So I guess that shift might have been when I started seeing other poets who were also slamming.

I started touring. I went around Germany and Switzerland, that side of Europe, and I noticed how many poets I was seeing, who are respected slam performance poets, also had books. I needed to see those examples and I think that planted something with me. So it was just like organic collaboration. I know a lot of your work is collaborative as well. I wanted specifically to ask about that. Thinking about that as well. Raymond, you had that wonderful coincidence, Kismet, of Burning Eye approaching you directly. I would like to ask specifically about whether you think publishers are conveying themselves as accessible and inclusive?

I want to know if you think those conversations are happening more and more with publishers.

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I want us to be publishers. That hierarchy needs to be more inclusive, I think. Are we still completely outsiders to some extent? We ensured there was a lot of access on this book, but that was from us working towards it. There are exceptions, of course, but overall things are still kind of bland, I think, to be honest. There are some examples in the wider scheme of things, lots of issues, but there are some things.

Can you talk a bit about how you came to that decision with Lisa? It was challenging. Going forward, this needs to be a landmark in the way in which access is granted by, this one issue changes the landscape from here on. To do it with heart and to do it properly is difficult, but hopefully, it will multiply. I would like to encourage publishers to think about that and make their publications available in electronic format. There are a lot of concerns about piracy, in the same way there was about mp3 files in the early days of file sharing with bands on the Napster website and things like that.

Publishers do say they are aware of pdf copies of their books being shared without being purchased. People still want a hard-copy book.