Well happy to be in this brilliant anthology with a Rune concrete poem… Full-colour, Perfect-bound Paperback, 148x210mm, 56pp https://penteractpress.com/store/myth-amp-metamorphosis

“Myth & Metamorphosis” presents a collection of poems inspired by an array of ancient mythologies. The poetic styles on show are similarly varied, showcasing the breadth of contemporary formal poetry: constrained poetry, concrete poetry, erasure poetry, asemic poetry, found poetry, prose poetry, photo poetry, puzzle poetry, translated poetry, typewriter poetry, as well as original and traditional verse forms..

Featuring work by:

Merlina Acevedo, Sacha Archer, Gary Barwin, Gregory Betts, Christian Bök, Luke Bradford, Marian Christie, Franco Cortese, Clara Daneri, Lucy Dawkins, Anthony Etherin, Kyle Flemmer, SJ Fowler, Mary Frances, Greg Hill, MD Kerr, James Knight, Alex McKeown, Annie Morris, Ben North, Rachel Smith, Dani Spinosa, Alex Stevens, María Celina Val, and Martin Wakefield.

One of the publications I am most proud of, without a doubt. Finally Ive managed to produce something, outside of collaboration, which is as satisfying visually as it is textually, to me at least. These are six poems rendered in the shape of the first six magical letters of the Elder runic alphabet. http://en.wikipedia.org/wiki/Elder_Futhark The Futhark, left behind by the norsemen as a incantational representation of something I am bonded to, as an urge, but am happy to misunderstand and rerender as a plate for my own warping language. This is but the first of many interactions my poetry will have with Vikings in the next few years, a subject in my blood, and the first poetry I was exposed to by my dad, the Sagas.

"The invention of the script has been ascribed to a single person^[9] or a group of people who had come into contact with Roman culture, maybe as mercenaries in the Roman army, or as merchants. The script was clearly designed for epigraphic purposes, but opinions differ in stressing either magical, practical or simply playful (graffiti) aspects. Bæksted 1952, p. 134 concludes that in its earliest stage, the runic script was an "artificial, playful, not really needed imitation of the Roman script", much like the Germanic bracteates were directly influenced by Roman currency, a view that is accepted by Odenstedt 1990, p. 171 in the light of the very primitive nature of the earliest (2nd to 4th century) inscription corpus."

All the better that this work should be with Antonio Claudio Carvalho's remarkable POW series. These are poetry poster artworks, far too underappreciated, emanating out of Brazil via Edinburgh, and taking in 26 authors in their finality, now, with my Vikings being the 25th, and Hansjorg Mayer the 26th! Incredible, and with Chris McCabe, Peter Finch, Augusto de Campos and so many great others coming before, I am privileged to be in such company. I owe Antonio such a debt for the commission, it really challenged me to grow as a poet who is also an artist in aspiration. Thanks too to Anatol Knotek, ever aiding in my technical ambitions.

So exciting these posters will be launched and available soon, and part of the upcoming Translation Games project, with the special edition poetry library event on march 5th. Check out Ricarda Vidal's great post on the series, with more examples, here http://ricardavidal.com/test/translation-games/pow/