Published : Flowers Won't Grow, with Karenjit Sandhu

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Flowers Won't Grow, by Karenjit Sandhu and I, is now available from Sampson Low https://sampsonlow.co/2021/06/21/flowers-wont-grow-karenjit-sandhu-sj-fowler/

35 pages of poetry printed in a limited edition of 150. £4.99.

From the publisher “A unique epistolary poetry collection and a collaborative feat of rare acumen, Flowers Won’t Grow contemplates mundanity and gratitude with a mix of polite curiosity and tender contempt. The lettered, prose-ish poems of Sandhu and Fowler speak to a luminous private public exchange, and the writeable unspeakables of a long London summer. These are playful, complex poems, of a city, of soap and fizzy water, of a search for commonality in quiet, of paper birds and hardened workers. www.stevenjfowler.com/flowers

“‘Exchanges, transfers and transferrals of intimacy and stark urgency – a work of posed questions, thumbed noses and drawn blood’.
Eley Williams
‘This is a nurse’s attention on a knife edge. A pin-prick of address, a poem that says “let’s get out of here” to and about itself. Everything is external, but you can’t get outside, even if you don’t what to know what’s inside. It’s a hostile take over of mundane objects and day-to-day experience in a language that asks us to settle for fruit syrup but reaches beyond to the universe’
Prudence Bussey-Chamberlain

The book was written across 2019, in what seems now a fever of activity and exchange, for this collaboration and in my work in general, and then revised in 2021 for publication. Karenjit is a really excellent writer and performer and I think the text is really good – playful, ludic, knotty.

It's the third in a series of collaborative pamplets with Sampson Low, following Beastings and Crowfinger, and as ever before, Alban Low has done a remarkable job bringing this to life.

Karenjit and I had two launches, following two performances of the text in late 2019. The first was in Richmond Park and the second in Hoxton Trust Gardens, both as part of the European Poetry Festival. Both performances included an exchange of reading and action between us, with very loose suggestions beforehand, and much completely improvised. For both I did forward rolls and some leaping and running, why I did this is a mystery.

A note on: Facial animations and the closing event of A History of Unnecessary Developments

A third and final restricted event for Tereza Stehlikova and I’s exhibition at Willesden Gallery, this was another grand one, curated ably by Tereza. These events, with a max of 7 people, create something obviously intimate but also beyond that, removing expectation of audience, something palpably focused and playful and relaxed. This night we had powerful poetry readings by Cristina Viti and Stephen Watts, alongside talks by Jo Gibbons, my old friend and an incredible landscape architect, as well as animation performances and more. For my own part I read again, for the second time ever, from my CAR GIANT pamphlet that I had written for Tereza and I’s film, which is the centrepiece of this exhibition. http://www.stevenjfowler.com/developments

I also, unexpectedly, and gladly (after spending the event filming with two cameras, for my youtube and tereza’s instagram live) got to collaborate with the animator and artist Birgitta Hosea. http://www.birgittahosea.co.uk/ Birgitta was projected neon asemic poems and lines and drawings upon my own asemic poems! A quite brilliant performance, and she allowed me, or urged me, to get in there, in the way, to be painted upon. At first I wrote on my works and then I just stood there, like a dummy, in the best role a collaborator can have, while she drew upon my visage. It was cool to see on video afterward.

Though the exhibition runs for another week, it was this event that cemented Tereza and I’s feeling that the whole endeavour, run without much footfall as the lockdown trace remains, was wholly worthwhile.

Published : CROWFINGER

Crowfinger, by Bård Torgersen and I, is now available from Sampson Low sampsonlow.co/2020/11/23/crowfinger-sj-fowler-and-bard-torgersen/

36 pages of full colour photopoetry printed in a limited edition of 200. £4.99.

From the publisher “The boldest take on photopoetry and corvids of the last decade, Crowfinger is a book that offers more than meets the eye. Juxtaposing Torgersen’s candid and striking photographs of Norwegian forests with Fowler’s precise and unrelenting poetry, it comes at you like evening fog between the trees." www.stevenjfowler.com/crowfinger

“This is menacing and funny and antic and accusatory and gorgeous and just the best kind of collaboration. It gives us a new way into ekphrasis and a new maze to lose ourselves in. Were you having beautiful thoughts in the beautiful place? Can you just be f*cking honest for once in your life?”  Luke Kennard, poet

“The only thing I could compare this book to is going for a run in the forest in the middle of the night. Surrounded by pitch black you hurtle yourself into a little pocket of light whilst trying your best to ignore whatever it is that’s watching you from the shadows. I’m not sure if I read the book or the book read me.”  Mikael Buck, photographer

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Below, the launch of CROWFINGER, at Kingston Quaker’s Centre on December 3rd 2020, as part of Writers’ Kingston’s celebration of Sampson Low press.


A note on: Writers Kingston, first event in 9 months

The longest period in a decade where I haven’t organised an event. I didn’t miss it really, too obvious the wider context of why. But it was still fun to do an event, the day after the winter lockdown ended in the UK. It was for www.writerskingston.com which im lucky to direct. It was celebrating Alban Low and his Sampson Low Publishing house. We were in the Quakers Centre in Kingston, in a circular theatre, where the Quakers devolve hierarchy by sitting in the round. There were 18 of us, 7 readers. I felt nerves, I felt social awkwardness. I felt the feeling of thinking 8 things at once, performing and organising. I felt the strange minor elation afterward. https://www.writerskingston.com/sampsonlowcelebration/

A note on: Sampson Low Pamphlet series and Maria Celina Val

This Thursday, December 3rd 2020, will see the 13th edition of the Sampson Low Writers Kingston Student Pamphlet series. It’s supported by Kingston University and its designed to evidence the remarkable contemporary and innovative poetry being written by current and recent Kingston University Creative Writing students, with beautifully designed pamphlets each featuring a suite of poems, most often on one theme or in one style, by a solo author. https://www.writerskingston.com/sampsonlow

Low key, it’s one of my favourite editorial projects. I get to work with poets early on in their writing, support them in their own originality, and the results have been amazing. It’s perhaps not had the recognition outside of the university and community around Writers Kingston that it deserves, with 12 debuts out of 13 pamphlets, 12 young women too, all so so high level in their quality, production and conception. The work standard is so high, and the 13th issue is remarkable. Maria Celina Val is an artist + poet + architect and her ‘children draw fivefold stars’ is really such a unique book of visual poetry. I mean, it’s quality is way beyond me, the design, the care, the samples above show. Please buy it here https://sampsonlow.co/2020/11/23/children-draw-fivefold-stars-maria-celina-val/

I have to thank Sara Upstone and many others at Kingston Uni who support this project, my idea, and it also has to be said that Alban Low is a gem. A rare thing. So generous, consistent, reliable, professional, insightful. I’m not being hyperbolic. That’s why we have an event celebrating his press this thursday, for the launch, please come by https://www.writerskingston.com/sampsonlowcelebration/

A note on : a golden time for BIP - Hawkins, Papachristodoulou, Wells, Cor, Turrent, Spittle, Biddle, Knight, Sutton, Shirley, Lewis, Kent

I have often said I am lucky to have got into poetry, by accident, around 2010. I came into British poetry just at a moment when dozens of genuinely open, intelligent, energetic independent presses arrived. More than that, it seems to me, I came around when hundreds of poets from the UK are out working at material that is contemporary because it is innovative. Poetry that is responding to the world as it changes. As it changes seismically, fundamentally, in language.

Lockdown brains us. If we are the fortunate unaffected, physically, as I am (I am mega-fortunate in all ways, I believe). It has inevitably turned many of us in. We reflect and find understandable negative and positive in what we are doing. I have been candid in telling many people I think I am wasting my life writing poetry, because that very well might be true, but not in a catastrophic way. I do not dislike myself for doing it, I am just suspicious of what I am doing, as I try to be suspicious about everything, in order to be more aligned / balanced / decent, and more contented.

I have then had many chats with peers, friends, who feel unappreciated. This is an existential reality. But it is often, in the context of British Innovative Poetry (The BIP) true. I can make a long list of people whose work should be lauded. What is lauding? I wrote something here I then deleted. All I’ll say is, the poets overlooked because they are complex, I read them, I see them, I fucking appreciate them. I appreciate the presses who keep working, keep digging in, keeping sharing. It is proper impressive. I know. People just keep doing the work. It’s brilliant.

I work abroad a lot and bring to these European citizens this UK poetry they have never heard of. They think the UK scene is 5 poets. I share with them the people I admire and I see, dozens of them, through their eyes, I am right.. And I reflect on this and realise further how lucky I am to know the work of these poets, to get the books, to follow their ideas and experiments. And there is no longer the concentric “scenes” where poets are represented by their tribe as well as their work, I don’t think, and brilliant. Who wants that? Petty patty. The internet has scuppered it. We are often alone working and connected briefly. But this is why I put on events, curate, to make those connections, but not make solid any movements, group or crew. Because that is naff.

How often have I shared a friend’s book with someone outside of the BIP to see them say surprised “this is amazing, why isn’t this in shops?” yes yes yes, because you don’t buy it mate. But it exists, it’s good. This cannot be denied. I see it. I see it. Do my eyes not count? Yes they do. I have made sure they do.

All this is leading to me saying simply, it’s a golden time for interesting, innovative British poetry. We are lucky. Many don’t know it but if they looked, they’d see. Here are some books out recently or coming out soon which prove what I’m saying. All you need do is get them and find out. iF YOU BOUGHT EVERY ONE OF THESE, IT’S 100 SQUID, AND IF YOU READ THEM, THE IDEAS, THE THOUGHTS THAT WOULD FLOW. WOULDN’T THAT MAKE LIVING BETTER? TO BE GROWING THROUGH THE LANGUAGE OF THE EARTH REFLECTED BACK AT YOU BUT CLEVER LIKE? IT DOES FOR ME. TRY IT NOW! JUST ONE HUNDRED SPONDULICS

HARBOUR EQUINOX by AARON KENT from SAMPSON LOW

HARBOUR EQUINOX by AARON KENT from SAMPSON LOW

A note on: Sampson Low European Poetry Festival publications 2020

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Very happy to have edited a new triple batch of publications for the European Poetry Festival Sampson Low publications scheme we started in 2019. Lots more information on the books and poets https://www.europeanpoetryfestival.com/sampsonlow

»My Haarschwund« by Franziska Füchsl
Alternative Title : BOOK by Max Hofler
The Patron Saint of Nightly Fire by Robert Prosser

These brand new publications by contemporary literary and avant-garde Austrian poets have been produced in limited editions by London-based press, Sampson Low. With both new translated volumes alongside conceptual collections, these are outstanding representations, in English, of three of the most interesting poets working across Europe, let alone Austria.

All can be bought https://sampsonlow.co/wck-pamphlets/european-poetry-festival-books/

Huge thanks to the poets, to Alban Low and to the Austrian Cultural Forum London and Kingston University, for supporting the books.

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A note on: editing the Sampson Low Poetry Pamphlet series in 2018

The Sampson Low Poetry Pamphlet Series is designed to evidence the remarkable contemporary and innovative poetry being written by current and recent Kingston University Creative Writing students. This series of beautifully designed pamphlets each features a suite of poems, most often on one theme or in one style, by a solo author. Visit https://sampsonlow.co/wck-pamphlets/ to purchase from the series.

New releases in the series, debut works by Olga Kolesnikova, Yvonne Litschel and Silje are now available to purchase. Click on the title and author to read more about each publication so far and buy a copy!: Click on the title and author to read more about each publication so far and buy a copy!:

“Kingston University brings together students from all over the world, from as wide a range of backgrounds and cultures as can be found in the UK. It creates a community that cross pollinates influences and ideas, and this is inevitably reflected in the work the students create. The university does not get enough credit for this – it is, I have seen, a vibrant, harmonious environment where originality and difference can be transformed into exciting and innovative expression. The students are hungry for that which is innovative, that which allows them to express the true size and complexity of their experience and their community at the university. This series of poetry pamphlets reflects that. The work is utterly contemporary, it is exciting and energetic. It is, I hope, the best kind of representation of what Kingston University stands for – intelligent, unique and various in its character.”  
Series editor, SJ Fowler

Writers' Centre Kingston : blog #2 - Sampson Low Poetry Publication series

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I would say of all the initiatives I've lined up for my new role at Writers' Centre Kingston, this one, a series of new limited edition poetry pamphlets for current students or recent alumni of Kingston Uni, is the one I'm most excited about. It gives me the chance to work closely with some remarkably mature, original and exciting poets and its the first series I've edited like this, only seven years into my own writing. Molly, Zakia and Dacy have all made my time at kingston in the last few years more engrossing because of the constant surprises and reassurances their work has provided.  https://www.writerscentrekingston.com/sampsonlow

The link has the place to buy the booklets, and anything that supports Alban Low's work at Sampson Low is worthwhile. His professionalism and attention to detail is remarkable too. Here's my statement accompanying the series

“Kingston University brings together students from all over the world, from as wide a range of backgrounds and cultures as can be found in the UK. It creates a community that cross pollinates influences and ideas, and this is inevitably reflected in the work the students create. The university does not get enough credit for this – it is, I have seen, a vibrant, harmonious environment where originality and difference can be transformed into exciting and innovative expression. The students are hungry for that which is innovative, that which allows them to express the true size and complexity of their experience and their community at the university. This series of poetry pamphlets reflects that. The work is utterly contemporary, it is exciting and energetic. It is, I hope, the best kind of representation of what Kingston University stands for – intelligent, unique and various in its character.”  
Series editor, SJ Fowler

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A note on: The Ecchoing Green, part of Worm Wood at Kensal Green Cemetery

The second event as part of my residence at Kensal Green Cemetery, Worm Wood, a really resonant and communal night with Tom Jeffreys and Chris McCabe, all three of us sharing somewhat deeply intertwined reflections on London, cemeteries, psychological interactions with space and history. I took folk down into the catacombs during my reading of my new limited edition short story publication from Sampson Low - Worm Wood Old Oak. I am really happy with the little chapbook, its beautifully done and this was the right place to share it with the world. https://sampsonlow.co/2017/07/14/worm-wood-old-oak-sj-fowler/

Published: Worm Word, Old Oak - new short fiction with Sampson Low

This is the link, https://sampsonlow.co/2017/07/14/worm-wood-old-oak-sj-fowler/ why not visit this link and spend 3 english pounds on this limited edition edition?

My first piece of fiction published in some time, this limited edition chapbook from Sampson Low is part of my exhibition and residency at Kensal Green Cemetery Dissenter's Chapel and explores the role of the Developer as some sort of ambiguous agent for catastrophic change in contemporary London, referring to the Old Oak development in West London, just minutes from the cemetery and where I live, which will utterly level and 'modernise' the entire area and its history and community. www.stevenjfowler.com/wormwood

Sampson Low have been publishing since 1793 and under the editorial guidance of Alban Low are releasing some beautiful chapbooks with contemporary poets and writers. Worm wood old oak will be available to buy https://sampsonlow.co/ soon or at the reading on July 13th at Kensal Green Dissenter's Chapel.