Liberate your craft by running amok with the editor’s axe
In the 1909 Futurist Manifesto, Marinetti calls for the reawakening of ‘divine intuition’ that ‘after hours of relentless toil’ allows for the ‘creative spirit to suddenly shake off its shackles and become prey to an incomprehensible spontaneity of conception and execution’. Can we employ this ‘incomprehensible spontaneity,’ towards our work given some parameters? What can occur when we free the editor inside us and run amok on the poems we feel are almost fragile to change? Is it sacrilege or sheer silliness to swing the editor’s axe with abandon, or a new and improved way of looking at our own work and understanding better the mechanics of poetry? This course is for anyone who wants to open up their practice to all these possibilities. We will investigate what can occur when we free the ruthless editor inside us and run amok on our own poems that we as poets sometimes feel are too ‘precious’ to touch. Form will play a big part in this course – revisiting existing ones, examining how we approach this factor and working towards new forms. Many ‘unorthodox’ methods will be used, from music, film, dance and visual art. There will be writing prompts where we will write new poems and apply various editing methods as part of the process of composition, and the chance to bring in poems that you have reached an impasse with, cutting them to shape on the butcher’s block.
Studios are three week intensive courses. Reading material will be distributed before the course begins. There are no live chats so they are suitable for both UK & International students.
For more information visit our Online Courses page.
Image credit: Martyn Fletcher
About Sascha Akhtar View Profile
Sascha Akhtar’s poetry has been widely anthologised and translated. She has performed internationally at festivals such as the Poetry International Festival Rotterdam, Avantgarde Festival Hamburg and Southbank Centre’s MELTDOWN festival London curated by Yoko Ono. She has also been part of poetry protests – Against Rape (Peony Moon, 2014) and Solidarity Park Poetry – Poems for the Turkish resistance (Ed. 2013). Her most recent collection is 199 Japanese Names for Japanese Trees (Shearsman, 2016). In 2017 and 2018, her fiction has appeared in Storgy, The Learned Pig, Tears In The Fence, BlazeVox and Anti-Heroin Chic. She is currently working on a book of translations of the work pioneering feminist Pakistani fiction writer Hijjab Imtiaz for Oxford University Press India, due to be published in 2019, alongside a book of poems as a Tarot pack, entitled Only Dying Sparkles (ZimZalla), with original art by John Alexander Arnold. For 2019, she has been invited to be a judge for the Streetcake Experimental Poetry Prize.
‘I write a lot of poetry so the Poetry School is part of that experience. However, to write about trauma is topic I have avoided and this course provided me with a way to tackle within a supportive environment. I have written 5 poems which, with a little editing, I will submit for publication and be confident to read in public.’