Remote or online courses aren’t necessarily suited to that which motivates me to teach. I’ve approached pedagogy in a way that the dialogue of exchanging information when leading a program isn’t a pretence. I have collaborated with students, learn from them every lesson, and this is the main reason for me to share knowledge I’ve accrued but naturally, already know. I’m maybe too reliant on that face to face, improvised style of teaching. So it’s taken me a few years to improve at leading courses online. The current course I’m working on with the Poetry School and about 20 quite brilliant poet-artists around the world, including folk from Australia, America and elsewhere, is the best experience I’ve had so far without immediate conversations. It’s likely due to the people who signed up, who are unusually talented and generous, and a maturation on my part, most especially in not overloading the source material and prompts. I would upload 100 pages in the past for one exercise, somehow I thought I needed to give participants their money’s worth. It takes time to learn it’s not just about that perhaps. Here are some works by poets who are on the course, really impressive asemic, handwritten, concrete poems and this is the true value of an online course - it allows access to people globally and you somehow then get poet-artists who are remarkably advanced in their work, seeking knowledge and insights, rather than fundamental approaches. Some of the work coming in is better than anything I’ve done, some professional standard work, and yet the exchanges in the group are supportive, and humble. https://poetryschool.com/groups/the-language-art-modern-art-poetry
A note on: Mondo for Poetry School - Autumn Term 2018
Mondo Monda Mondu Monde Mondi https://poetryschool.com/courses/mondo-the-global-avant-garde/ Saturday 3 November and Sunday 4 November. Two-day workshop, 10.30am – 4.30pm.
I am pumped to do another weekend course for the Poetry School, I had such a positive experience earlier this year, sharing European work (you can about that here http://www.stevenjfowler.com/poetryschool) and this November, I hope to repeat the trick. Mondo draws on a personal interest of mine, attempting a global vision of what poetry has gone through on the last 70 years or so - how individual cultures, languages, seismic political changes have shaped fundamental modes of writing. Not just content that is, which translates and then sits across nations through that translation, but actually context too. How poetry itself has shifted, and what we can glean from that. I've followed quite a few hundred rabbit holes thanks to friends across the world and the fact this isn't the most popular area of research. I will make this weekend quite open, explorative, using examples from many nations - Nigeria, Japan, Russia, Peru, China, Syria, Canada, etc... - so it won't be built around geography so much as ideas. Come and join me if you please
Mondo: The Global Avant-Garde Face-To-Face Course
Journey through a world of avant-garde poetry over this jam-packed weekend with SJ Fowler.
Explore a world of avant-garde poetry and discover how remarkable explorations in the written word often compliment, rather than antagonise, more formal writing practice. Using examples from Canada to Nigeria, from Syria to Japan, from Latvia to Brazil, the course will focus on methods of original poetry practise that have emanated from some of the 20th centuries most exciting experimental poetry groups of the post-war period. Rooted in making, this course – with the energy, dynamism and invention of the writing it explores – will enrich anyone’s poetry horizons. Mondo is not intended as representative of anything but an idiosyncratic selection of international avant-garde movements, all presented as a gateway to new writing methodologies for contemporary poets. Examples include:
- Japan: The ASA group to the VOU: Kitasono Katue & more – Logogrammatic poetry: The abstract illustration of language
- Canada: The Four Horseman: bp Nichol, Paul Dutton & more – Sound poetry: Language as Sound, resonant, non-lingual, vocal.
- Nigeria: The Mbari Club: Amos Tutuola, John Pepper Clark & more – Experimental mythology: Mythic tropes as paths to the new.
- Brazil: Noigandres: Haroldo de Campos, Augusto de Campos & more – Concrete poetry: The visuality of the poem as its meaning
- Syria & Iraq: The Tammūzī Poets: Badr Shākir al-Sayyāb, Adonis & more – The ancient as modern: Free verse as liberation.
This workshop will be in our new offices at 1 Dock Offices, Surrey Quays Road, Canada Water, SE16 2XU. The venue is a 2-minute walk from Canada Water Station. Take the ‘Lower Road’ exit from the station onto Surrey Quays Road, then walk straight ahead, crossing over Deal Porters Way, and the Dock Offices come up on the left. The door for the school is at the far end of the building.
The Autumn Term is open for booking! Have a read through our fantastic quick guide, which you can find here and below, to see all of the courses - online and face-to-face - we're running this autumn! There really is something for everyone.
A note on: European Poetry Now, teaching at the Poetry School
Lambeth Walk is synonymous for me with the Poetry School. The city is a massive patchwork of associations, splicing my own experiences against the ground. I feel part of something larger in London, in small patterns, of walking, visiting places for a purpose. Getting the Bakerloo line to Lambeth North, walking down to the Poetry School, where I started teaching in early 2014, and where I really developed the teaching techniques I tend to use now, and where I met lots of poets whom are now friends, is a really positive memory. I learned so much in that building, that row of buildings. The Poetry School is about to move on, as all things must, but I was really pleased I managed to do one last course in the old building before I've no real reason, for now, to visit Lambeth Walk. It was as good as anything I've done for the PS, a weekend exploring contemporary European Poetry, that I ran alongside on online course, on the same subject, with poets from across the globe.
I woke up very early on both weekends days, in the snow, the tubes quieter than normal, and was joined by a dozen really brilliant, positive minded poets. They couldn't have been more engaged and enthusiastic, it was just one of those experiences where the human mix makes it resoundingly positive. I shared some poetry I've never taught before, most especially around the notion of a new european lyric tradition, with poets like Max Czollek, Ann Cotten, Tomica Bajsic and many others I've been lucky enough to meet. This complimented explorations of sound, visuality, materiality, performance, new surrealism and pretty essential ideas that drive a lot of european poetry. Some of the participants will read on an upcoming European Poetry Festival event and it seems already that the contact with others that really motivates me to do these courses has begun once more, anew, thanks to what the poetry school does. www.stevenjfowler.com/poetryschool
Addendum, added April 12th 2018 - here are four of the participants on the course performing as part of the European Poetry Festival - Lithuania
A note on : Two new courses for Poetry School - European Poetry Now!
I'm delighted to be returning to teaching at the Poetry School, after nearly two years away from the fold. It is a place where I have met some of the finest poets and humans I've come across in this tiny tiny world. In the spring 2018 I am running two separate but intertwined courses. Please do book one of them and come be a part of our continent still yes.
You can see all my Poetry School experiences, including these below here www.stevenjfowler.com/poetryschool
European Poetry Now (& Then) – International Course
Online Course Celebrate and explore the best-kept secrets in innovative, contemporary European poetry https://poetryschool.com/courses/zur-holle-european-poetry-now-international-course/
As the UK sadly divorces itself from the EU, this course with SJ Fowler, director of London’s European Poetry Festival (April 2018), abjures further divisions by embracing (and reclaiming) contemporary European poetry. In this course you will be introduced to dozens of working poets and multifarious traditions, drawing on modern poetic history and with an emphasis on the radical, experimental and avant-garde. Exploring constraint, concrete, visual, sound, performance and language poetry, this is a chance to gain access to poetic cultures and scenes almost completely hidden from British poets and readers, and making your own new work in response.
5 fortnightly sessions over 10 weeks. No live chats. Suitable for UK & International students.
European Poetry Now! – Two Day Workshop
Face-To-Face CourseA practice-focused weekend looking at what is happening right now in a golden age of poetic innovation just over the Channel https://poetryschool.com/courses/zur-holle-european-poetry-now-two-day-workshop/
This intensive two-day course with SJ Fowler, director of London’s European Poetry Festival (April 2018), explores what is happening right now in a golden age of poetic innovation just over the Channel, and how that offers British poets the chance to expand their own poetic practice. Focusing on methodology and making over two days, exploring relay-style the ten themes of the Festival, this crash-course draws on huge array of ground-breaking yet little-known European poets to blaze new paths into language, visual and live poetries. Participants will also have the opportunity to develop their own works for presentation at the European Poetry Festival.
A two-day workshop running 10:30am – 4:30pm on Saturday 17 & Sunday 18 March.
A note on: Launching my new book at Kingston Writing School
I had brilliant fun creating a performance at Kingston University, as part of David Rogers longstanding Kingston Writing School series, 'directing' a film or montage while sharing poems from my new book The Guide to Being Bear Aware. It's a performance Im strangely pleased with, trying to find the right balance between concept, improvisation, spacial exploration, humour, complex undertone and actual poetry.
The experience was particularly gratifying, a really lovely, resonant evening, as my students from my Experiments and Innovations module, the mainstay of my teaching at Kingston Uni, read with me. Coming at the close of their degrees and my teaching year, it was their first chance to share a stage with me and I suppose engage with my work. They are a remarkable group of young poets, some of whom are featured in my performance.
A note on: Launching House of Mouse with Prue Chamberlain at Poetry School Camarade
So lovely to release a new collaborative book into the world, written alongside the brilliant Prue Chamberlain. We performed at The Poetry School Camarade, an event I curated at Rich Mix alongside 8 other pairs of poets, in what was a fine night all told, by alternatively reading, blindfolding, spinning and sticking noses on an olaf the snowman poster. The spinning was my favourite part of it, which perhaps goes some way to evidence my current feeling toward reading, but everything Prue and I have done in collaboration has been energising, such is her humour, intelligence and adventurousness. Buy our book please www.stevenjfowler.com/houseofmouse
A note on: Poetry School Camarade - July 16th & 17th 2016
A wonderful opportunity for me to work with the Poetry School again coming up this July (all the details on my other courses here) but this time in a unique format, one that suits how I like to share ideas, and specifically, in this case, what I've learnt about collaboration through the 100 or so collaborations I've done and over 200 collaborative events I've curated.
It's a weekend course, kindly hosted by Rich Mix near Brick Lane, which will finish with a Camarade reading featuring those on the course, in pairs, and other poets connected to the Poetry School (which is a grand list). It means not only do I get to contextualise the theory behind collaborations, and to explore its history in poetry, and the methodologies consequent from these two things, but I get to do so immersively, and with a definite, practical goal - the reading.
I think it'll produce some wonderful works and I hope, for those who participate, be a real locus for a whole new world of writing poetry across mediums and with other fellow poets.
Book here: http://www.poetryschool.com/courses-workshops/face-to-face/the-poetry-school-camarade.php
More details www.theenemiesproject.com/poetryschool
Saturday’s July 16th 2016 workshop
1pm – Introduction to the possible methods of collaboration in poetry and text.
2.30pm – Facilitated group writing exercises and practise performances.
3.30pm – Facilitated breakout sessions for collaborations in pairs.
5pm – Group discussion on the process, final pairs confirmed and feedback.
Featuring a discussion of the philosophies behind collaborative writing, the diffusion of the poet’s identity in collaboration and the consequences of that for solo writing. Extended explorations of the notion of the reading versus the performance, group writing, conceptual writing, constraint writing, improvisation and more literary methods like line-to-line and stanza-to-stanza. Features both talks, discussions and exercises.
Sunday’s July 17th workshop
1pm – The history of collaboration in poetry featuring source materials provided to the participants, covering a selection of salient examples from 20th century poetry, including movements like the Surrealists, CoBrA, The Beats and assorted examples from the likes of Ian Hamilton Finlay and John Furnival, Ron King and Roy Fisher, Anne Waldman and Joe Brainard.
2.30pm – An analysis of a host of collaborative performances from The Enemies Project video archive with footage screening and discussion.
4pm – Facilitated rehearsal of group collaborations and final paired works, with feedback.
Upcoming: November 2015 - Events, Performances & Projects
My 'A Language Art' course runs on Monday nights throughout November with sesssions exploring the intersections of avant-garde poetry and modern art in the galleries of Tate Modern and in the Tate stores.
November Wednesday 4th - Pugilistica at Apiary Studios
A chance for me to launch my book Fights, in it's 2nd edition from Veer Books, alongside some amazing journalists, novelists, poets and art historians, all exploring the literature of boxing. www.theenemiesproject.com/pugilistica
November Thursday 5th - Mondo: global avant-garde poetry at Poetry School
A new course at the Poetry School, this time exploring avant-garde movements from Japan, Nigeria, Canada, Brazil and Syria / Iraq. Still a place or two left! Book here
November Friday 6th - Symposium: Pulling Together/Pulling Apart: Forces in Creative Collaboration, OVADA, Oxford
Thanks to artists Brook and Black, I'll have the chance to discuss collaboration at OVADA, alongside Tamarin Norwood and others http://www.ovada.org.uk/arkitektoniske-kramper/
November Saturday 7th - Nemici: an Italian Enemies project at the Rich Mix
A really ambitious Enemies project I'm curating with ten Italian artists and poets visiting London, each writing new collaborations with British poets. I'll be presenting a new work with Alessandro Burbank. Should be special www.theenemiesproject.com/nemici
November Friday 13th - A World without Words IV at the Frontline Club
The fourth event in the series curated by Lotje Sodderland, Thomas Duggan and myself, exploring neuroscience, aphasia, the brain and art, this time at the incredible Frontline Club. With a talk by Barry Smith and anthropological short films from Vincent Moon. http://www.frontlineclub.com/screening-and-discussion-a-world-without-words/
November Saturday 14th - EVP Sessions at Shoreditch Town Hall
Electronic Voice Phenomena hits London once again, I'll be presenting a new commission in full skeleton embodiment, exploring disembodied voice http://shoreditchtownhall.com/theatre-performance/whats-on/event/theEVPsessions
November Sunday 15th - Globe Road walking tour for the Globe Road Festival
Happy to be leading a Sunday morning stroll up Globe Road in the company of Gareth Evans, Elaine Mitchener and the Bohman brothers www.theenemiesproject.com/globeroad
November Wednesday 18th - Soundings III with Maja Jantar at St Johns on Bethnal Green
So excited to collaborate with the incredible Maja Jantar for a new performance as part of the Soundings project with Hubbub at Wellcome Collection responding to prompts from the Wellcome Library. St Johns on Bethnal Green is an amazing venue too. www.stevenjfowler.com/soundings
November Friday 20th - The European Camarade at Freeword Centre
A mini festival of European poetry in collaboration, so pleased to have the chance to curate this night and present a new collaboration with Endre Ruset. Some of these poets are doing the most exciting work in their nations, not to be missed www.theenemiesproject.com/europeancamarade
Upcoming: Mondo - a world of avant-garde poetry, a course for the Poetry School
Thursdays : November 5th - December 3rd : 6.45pm to 8.45pm at the Poetry School in Lambeth, London. £90.00. Concs: £72.00
5 sessions 5 international avant-garde poetry movements / methodologies from Japan, Canada, Nigeria, Brazil, Syria & Iraq
Book online using this link: http://www.poetryschool.com/courses-workshops/face-to-face/mondo--the-global-avant-garde.php
I'm very happy to be presenting a new course for the Poetry School focusing on 5 global avant-garde poetic movements of the post-war period, in five different nations, aiming to elucidate traditions that might be occluded in the UK, and explore how their innovations in writing can compliment people's poetry in the now. The onus is on how these great moments in modern poetry can enrich writing practise, rather than dense historical analysis. It’s a rare chance to excavate avant-garde work in such a setting, please sign up above if interested.
Participants will have a chance to share their work at a post-course reading and you can see further information about Mondo and my previous courses & activities with the Poetry School here: www.stevenjfowler.com/poetryschool
Week One: November 5th – Japan
The ASA group to the VOU: Kitasono Katue & more
Logogrammatic poetry: The abstract illustration of language
Week Two: November 12th – Canada
The Four Horseman: bp Nichol, Paul Dutton & more
Sound poetry: Language as Sound, resonant, non-lingual, vocal.
Week Three: November 19th - Nigeria
The Mbari Club: Amos Tutuola, John Pepper Clark & more
Experimental mythology: Mythic tropes as paths to the new.
Week Four: November 26th – Brazil
Noigandres: Haroldo de Campos, Augusto de Campos & more
Concrete poetry: The visuality of the poem as its meaning
Week Five: December 3rd – Syria & Iraq
The Tammūzī Poets: Badr Shākir al-Sayyāb, Adonis & more
The ancient as modern: Free verse as liberation.
Published: How I Did It - ‘The Interrupters’ my article for The Poetry School
http://campus.poetryschool.com/how-i-did-it-the-interrupters/ An intriguing series from the Poetry School, hosted on their Campus platform, where they ask poets to discuss the process of writing a specific poem of theirs. Some previous editions were really interesting, but more often than not made me realise how different my process can be from the norm. So this article, where I discuss my poem The Interrupters from my recent collection {Enthusiasm} published by Test Centre, is an attempt to honour the article's remit but still maintain a true reflection of my actual methodology.
"I suppose each collection I have published has been an attempt to relate a style, or form, or concept, to a subject. Not the other way round. No collecting has been done after the fact, the fact has been established and then the collecting. My process is one toward a changing ideal. I don’t denigrate those who are consistent, or whose evolution is subtle, but I personally find the notion of radical growth, or variance, to be something I aspire to. It comforts me that my work is different book to book, that I produce things that bear not a singular stamp of my authorial ‘voice’, for I find that idea unrepresentative of my experience of being. It is not a metaphor to say we contain a multiplicity. I am a different person depending on my mood, my company, my job… As such I am a different poet, I have a different voice when writing about boxing than I do when writing about prisons, or when I’m using collage technique as opposed to visual poetry. And most especially when I’m writing mostly at night, as opposed to the morning, or when I’m reading mostly one poet as opposed to another."
Updated: Hubbub & Poetry School webpages
Finally I've filled up two sections of my site with all the relevant info that does them justice. My current and ongoing residency with the Hubbub at Wellcome Collection www.stevenjfowler.com/hubbub and the last few years teaching for the wonderful Poetry School www.stevenjfowler.com/poetryschool
Both include videos, blogs and general writings about my residential / pedagogical processes
The Poetry School: Maintenant - an international course & new website
I'm happy to say that in January 2015 I shall be once again teaching my Maintenant course for the Poetry School, this time as an International course. This means, as an interactive online course, it can be taken by anyone in the world and, I would hope, many from Europe as well as beyond.
The course explores post-war & contemporary European avant-garde poetry, aiming to elucidate traditions that might be occluded in the UK, and explore how their innovations in writing can compliment people's poetry in the now. The onus is on how these great moments in modern poetry can enrich writing practise, rather than dense historical analysis. It’s a rare chance to excavate avant garde work in such a setting, please sign up below if interested.
http://www.poetryschool.com/courses-workshops/online/maintenant---an-international-poetry-course.php
The course begins Monday 26th, in January 2015 and follows a bi-weekly format, with five movements covered over ten weeks, with poems and texts submitted by the participants every two weeks. The course is mediated through the Poetry School’s innovative social media platform Campus, allowing a remarkable accessibility to an assignment driven course, a credit to the innovative pedagogical approach of the school.
Week One: – Oulipo
Georges Perec, Jacques Roubeau, Raymond Queneau up to Frederic Forte and British Oulippeans like Philip Terry. The constraints that emancipate. http://en.wikipedia.org/wiki/Oulipo
Week Two: – Austrian postwar modernism
Thomas Bernhard, Peter Handke, Elfriede Jelinek. How to deal with the legacy of Fascism.http://en.wikipedia.org/wiki/Peter_Handke
Week Three: - Concrete poetry
Hansjörg Mayer, Bob Cobbing, The Vienna Group, Oyvind Fahlstrom, Marton Koppany up to Anatol Knotek. The visuality of the poem as its meaning http://en.wikipedia.org/wiki/Concrete_poetry
Week Four: - CoBrA
Asger Jorn, Christian Dotremont, Pierre Alechinsky. Dutch, Danish, Belgian & beyond, poetry as art revolt & primitivism.http://en.wikipedia.org/wiki/COBRA_(avant-garde_movement)
Week Five: - British Poetry Revival
Tom Raworth, Bill Griffiths, Maggie O’Sullivan & many many more. Those every British poet should know, our immense late 20th century Vanguard heritage. http://en.wikipedia.org/wiki/British_poetry_revival -
I've also a new website www.stevenjfowler.com which can be navigated through a menu as well project pages, one of which is www.stevenjfowler.com/poetryschool which contains information on Maintenant: International as well as the first Maintenant course and the Vanguard course.
& here is the interview series that inspired the course http://www.stevenjfowler.com/maintenant all 97 editions so far.
Thanks for reading & happy festivus.
teaching Maintenant for the Poetry School in 2015 as an International course
The first is that this course, the first time round, was undoubtedly my most positive experience teaching, ever. I got very lucky with the group of people who came to share their thoughts, but also years of research, really from the start of my writing as a whole, as well as from the 98 issue deep interview series I ran here www.maintenant.co.uk, into contemporary European poetry came to bear. I knew more than I had thought I knew, and had a passion for much that I had forgotten. This in the ideas behind the movements more than anything - in teaching the course I came to realise so many of these brave, wondrous engagements with experimental literature on the continent since WWII had genuine and fully realised political, ideological and philosophical ideas driving them, and these were good ideas. Not at all pretentious or removed, so many of these movements were about responding to the horrors of the middle 20th century and could be gleaned for the unique problems, and opportunities of our time. So I realised more than I had that the European avant garde was wholly relevant to me, that I shared, often, its concerns, and so took much away in realisation of how and why my writing had become what it has. I think the 16 people who came every two weeks to speak with me at the Poetry school thought so too. So we engaged deeply with the potential of technology and writing, of political and social engagement, of collaboration and community. Their amazing energy and their desire to make these historical groups and movements new and real to them was palpable, and amongst other things, at one of my events celebrating Danish poetry, they did this:
The second reason in that this second go of Maintenant is an International course. This means it can be taken by anyone in the world and, I would hope, many from Europe as well as beyond. It's very exciting to be able to relate my ideas and my thoughts about these 5 great movements with people who have a wholly other perspective than my own. This accessibility is such an exciting prospect, and a credit to the innovative pedagogical approach of the poetry school and will undoubtedly produce a really interesting experience for me, as much as, I hope, those who take up the course. Moreover it means the course is assignment driven, i.e. writing driven, and this was always the hope, that the course would be a platform for others to create their own work, their own movements, or at least radical and personal ideas for themselves and their writing. Here is the syllabus:
Week One: – Oulipo
Georges Perec, Jacques Roubeau, Raymond Queneau up to Frederic Forte and British Oulippeans like Philip Terry. The constraints that emancipate. http://en.wikipedia.org/wiki/Oulipo
Week Two: – Austrian postwar modernism
Thomas Bernhard, Peter Handke, Elfriede Jelinek. How to deal with the legacy of Fascism. http://en.wikipedia.org/wiki/Peter_Handke
Week Three: - Concrete poetry
Hansjörg Mayer, Bob Cobbing, The Vienna Group, Oyvind Fahlstrom, Marton Koppany up to Anatol Knotek. The visuality of the poem as its meaning http://en.wikipedia.org/wiki/Concrete_poetry
Week Four: - CoBrA
Asger Jorn, Christian Dotremont, Pierre Alechinsky. Dutch, Danish, Belgian & beyond, poetry as art revolt & primitivism. http://en.wikipedia.org/wiki/COBRA_(avant-garde_movement)
Week Five: - British Poetry Revival
Tom Raworth, Bill Griffiths, Maggie O’Sullivan & many many more. Those every British poet should know, our immense late 20th century Vanguard heritage. http://en.wikipedia.org/wiki/British_poetry_revival -
You can also read an indepth interview with me about this course and other stuff here:
http://campus.poetryschool.com/maintenant-interview-s-j-fowler/
Vanguard: a course for the Poetry School
Exploring immediacy, alertness; quickness; celerity, concision. Scalpel cuts at smugness / pomposity, seeking the fragmentary whole.
Nearness in place, time, order, occurrence, or relation. Imbued with situation / location / historicity.
Excavations in sound, the condition of being resonant, multi & non lingual / vocal. Performativities. Technologies.
Undermining the oppressive in language / politics, situating complicity, interrogation / rejection of subjectivity. Externality and the refraction of worlds of language as a mode.
Fjender
It was really a joy to read with Morten too, though difficult at times to maintain the prosaic difficulties of organising and introducing such a complex array of events along with reading, but once the event was in full flow it really felt like everyone was in on it together, and it was easy to relax into it.
And those dozen who've been kind enough to attend my Maintenant course at the poetry school gave a really beautiful reading of an immense collaborative, constraint heavy text, which just added to my feeling that the synthesis of organising / reading / writing / teaching can be fluid and organic if attended to openly.
An interview with the Poetry school for my upcoming course Maintenant
Has any other poet thrown himself into curating and collaboratively creating contemporary poetry with the same enthusiasm as S J Fowler?
Maintenant! a course for the Poetry School
Week Two: February tuesday 11th – Austrian postwar modernism
Week Three: February tuesday 25th - Concrete poetry
Week Four: tuesday March 11th - CoBrA
Week Five: March tuesday 25th - British Poetry Revival
& near the end of the course, on March 15th 2014, at the Rich Mix arts centre, the students will get a chance to read some of the work they've produced during Enemies: Fjender, which explores contemporary Danish avant garde poetry in collaboration, with Cia Rinne, Martin Glaz Serup and Morten Sondergaard, who will also be exhibiting his remarkable Wordpharmacy http://www.wordpharmacy.com
You can download the entire Poetry School London programme here: http://www.poetryschool.com/resources/ps-brochurespring14-printerfriendly-3.pdf
& here is the interview series that inspired the course http://www.maintenant.co.uk/ all 97 editions so far.