Bristol is an anthology of experimental prose poetry from the wonderfully subversive publisher, Dostoyevsky Wannabe, under their DW Cities imprint. Created in collaboration with an array of literary groups, each book in the series is accompanied by a local event held in the city featured. Like the writing, the idea may be innovative but it is satisfying that such a venture is made possible by supporters and contributors. The literary world benefits from original thinking.
This slim title contains diverse work from six writers. It opens with a concept piece from Sarer Scotthorne which I interpreted as a commentary on the effects of zero hours contract relationships. There is a feeling of risk and disconnection – of those who sign up being expendable. Hours are described as ‘missing’, method as ‘island gropes’ or ‘into a kind of abyss’. It is strangely disconcerting.
Vik Shirley offers a series of poems on celebrity (Betsy) and their varied acolytes (vigilantes). Betsy is a has been whose continued fame relies on her intense following. They demand certain standards for inclusion and have become a power in themselves. The real Betsy is no longer needed for the vigilantes to continue as influencers.
David Turner sets his pieces in the Tate Modern and provides an entertaining alternative commentary on famous art installations. They are playful in their treatment of the conceits and rage of well known artists and their work.
Paul Hawkins’ contribution is more opaque. I took from it a cynical despair at continuing demand for vanilla living and writing.
“the world is full of climbers
putting the win on instagram
hucksters pumping sherbet after sherbet
of effects into the stratosphere
going super soft option for the whining win”
Lizzy Turner opens with a quartet of diary entries highlighting the problems of living with anxiety. She then blacks out increasing sections, thus bringing to the fore the ongoing darkness of such a condition. It is a powerful evocation.
The final contributor is Clive Birnie whose bio explains he works with appropriated text. His six interrelated poems are about deals and money-making. Their protagonist, The Lemon Squeezer, is a ‘cease and desist investor’. There is mention of disgrace and deteriorating conditions, of catastrophe ‘becoming commoditised’ – advise given:
“A fool should sell himself, while
he still has something left to sell.”
One of the difficulties of reviewing experimental writing is a concern that my interpretations may be wide of the mark intended. Such is the risk taken by any writer publishing their work. As a reader I enjoyed unpacking this collection. It benefits from rereads and offers much to consider.
My copy of this book was provided gratis by the editor, Paul Hawkins.