ISSUE #1

Editors’ Letter

 

Welcome to Issue 1 of All These New Relations, a new online magazine exploring and showcasing the milieux, methods and madnesses of contemporary poetry in all its emergent myriad forms. We are delighted to make your acquaintance, from our respective, coffee stained desks in Glasgow, Scotland and Montreal, Quebec. Hello/bonjour!

We’re absolutely thrilled to be launching All These New Relations at this time. As you can read further in our Manifesto, we believe that there has never been a more exciting time to make poetry, as poets and artists take poetry far beyond the book and the page. Poetry is visual, sonic, digital, physical, online and on the stage: it’s social and collaborative, as artist led networks and collectives work together to get poetry out in front of new audiences. We want to explore all these new relations, via articles, interviews, essays, reviews and curated content, in a planned twice yearly magazine format that you see before you now.

Why a magazine format, though? Isn’t that a little…old hat?

We want to provide a steadier platform than Facebook pages, Tumblrs, Instagram and Twitter feeds – while we love these (see the fascinating in-depth interview with Harry Giles about their Twitterbots project for proof), too often conversations become disposable after the inital flurry of interest: yesterday’s news, bottom of the bin. We want to create a space for more considered explorations: not intended in any way as the final word but rather as the starting block for information, debate, provocation. Something that you can return to, refer to, chew over.

All These New Relations has emerged from the 2016 cinepoems project which was initially conceived as a platform for exploring film poetry/video poetry/cine poetry. Don’t get us wrong, we still love film poetry and will be returning to it often, as evidenced in the wealth of articles about filmpoetry in Issue 1.

In the first of our regular curated series, PhD Susannah Ramsay provides a fascinating context to the development of filmpoetry, from the 1920s onwards (nothing new under the sun). BAFTA Award winning sound artist Richy Carey gives a handy practical guide to sound design in film, and Andrew Rubens writes about the work of early modernist poet Benjamin Fondane, said to be the first to coin the word ‘cinepoems’. We have an interview with film/print artist Bridget Tempest on the aesthetic which informs her exquisite, haunting work, and a report on our first ever live cinepoems event: a 48hrfilmpoem event in Glasgow in December 2016.

Finally, we introduce our regular reviews section of spoken word and poetry performance events: in this case, three of Scotland’s highest profile nights with Flint & Pitch, Loud Poets and Sonnet Youth.

We hope that you enjoy reading. Welcome to Issue 1 of All These New Relations.

Love, the Editors

 

CONTENTS