The Academisation of Avant-garde Poetry Revisited

Some years ago, The Argotist Online did a feature called ‘The Academisation of Avant-garde Poetry’ which examined the relationship between academia and avant-garde poetic practice. The aim was to open up discussion around what seemed to be an increasing tendency within English departments in both the US and the UK to monopolise the practice, discourse, dissemination and publication of avant-garde poetry. In effect, this was creating a sort of “gold standard” by which such work could be measured, validated and deemed worthy of academic attention. The consequence was that certain forms of avant-garde poetry fell out of favour, both within the academy and with poetry publishers of academically “approved” avant-garde poetry.

I thought the most effective way to frame the feature was to invite contributions from US and UK academics, asking them to respond directly to the idea of academic encroachment into the sphere of avant-garde poetry. To that end, I approached a number of academics in the US and the UK who were involved, to varying degrees, in these developments.

The feature suggested that academic poetic production was supported by flourishing university creative writing programmes. The University of Pennsylvania, for instance, hosted initiatives such as the Kelly Writers House, the PennSound website and the Center for Programs in Contemporary Writing, all of which were broadly sympathetic to academically situated avant-garde poetry. The university also took over Jacket2, an influential online poetics journal originally edited by the independent John Tranter, thereby bringing it within an institutional framework.

And similar things were happening in the UK, with various institutions such as the Contemporary Poetics Research Centre at Birkbeck (University of London), the MA Poetic Practice course at Royal Holloway (the University of London), the North West Poetry and Poetics Network (Manchester Metropolitan University), the MA Creative Writing: Innovation and Experiment course (Salford University) and the Poetry and Poetics Research Group (Edge Hill University), all played a role in promoting academically aligned avant-garde poetry.

Out of this expanding network of academic patronage in the UK emerged two closely affiliated organisations: The Other Room reading series and Knives Forks and Spoons Press. Both maintained strong connections to the MA Creative Writing: Innovation and Experiment programme at Salford University, with several of its students being published by the press and featured in the reading series.

Given these developments, one might have argued at the time that the term “avant-garde” had, in effect, been appropriated by the academy. As a result, it had come to be associated with forms of poetic practice that could themselves be considered “establishment”, to the point where the term’s historical resonances risked becoming diluted or even meaningless.

The central concern, then, was the emergence of a two-tier system: on one side, experimental poetry that is institutionally sanctioned and legitimised, and on the other, experimental work that exists outside those structures. Practitioners of the latter are often excluded for a range of reasons—sometimes due to a lack of recognised academic or literary credentials, but more fundamentally because their work may be perceived as insufficiently “knowing”, or too “primitive”, when measured against the more theoretically informed modes of experimental writing fostered within certain MA programmes.

Looking back at this now, what interests me most is not so much whether the argument was right or wrong, but how strongly the landscape of poetry seemed to organise itself into recognisable centres of gravity. At the time, it felt as though academic poetic output (particularly of an avant-garde or experimental kind) was not only active, but forming into something like a system, with visible institutions, programmes and networks giving it structure.

University-affiliated initiatives and publications gave the impression of a self-reinforcing ecosystem for experimental poetry. These were not marginal or obscure enclaves, but well-resourced, visible platforms that seemed to legitimise and disseminate particular kinds of “innovative” writing. The fact that independent projects could be absorbed into, or aligned with, university structures only reinforced the sense that the academy was becoming a natural home for avant-garde practice. From where I was sitting, it felt as though these institutions were not just supporting avant-garde poetry, but quietly defining its terms: influencing what counted as innovation, and what did not. 

And though the boundaries between institution and independent activity did not disappear, they often appeared porous in one direction: toward the academy. For a time, it was easy to feel that experimental poetry was being gathered into an identifiable, and to some extent self-validating, framework.

It was in this context that I found myself questioning the continued usefulness of the term “avant-garde”. Historically, the term carries connotations of opposition, rupture and marginality. Yet what I was seeing, or believed I was seeing, looked less like a marginal formation and more like an emerging establishment, with its own pathways of recognition and support. The idea that the avant-garde might, in effect, have been institutionalised did not feel provocative so much as descriptive.

In contrast, the notion of a body of experimental work existing outside or alongside these institutional structures, seemed to present a way of preserving a distinction that the term “avant-garde” no longer clearly marked. Whether that distinction was real, exaggerated or simply a product of perspective is harder to say now. What felt at the time like a developing two-tier system, between academically sanctioned experimentation and work that remained outside those channels, might, in hindsight, have been less stable and more permeable than it appeared.

The sense that certain kinds of experimental writing were included within academic discourse, while others were excluded (whether for reasons of style, background or disposition) signified a real anxiety about legitimacy. Even if the boundaries were never as clear as they seemed, the feeling of their presence was significant.

From The Avengers to Line of Duty: How UK TV Became Police Procedural

The Freeview TV channels in the UK are a goldmine of TV nostalgia. Each day they show repeats of the the crime-adventure shows made by ITC Entertainment, a company run by Lew Grade that aimed to make UK TV shows that appealed to both UK and US audiences.

As a child in the 1970s, I would watch repeats of these shows. They included Danger Man, The Saint, The Avengers, The Baron, The Prisoner, Department S, The Champions and Randall and Hopkirk. Shot on 35 mm film these shows were presented in a stylish and imaginative way, creating a world that seemed vast and exciting and full of visual flair, exotic locations and imaginative storytelling.

Edwin Astley who wrote most of the theme tunes and scores for these shows, apart from The Avengers, The Champions (he wrote the score only) and The prisoner, gave these shows added drama and energy. I was always surprised that after the 1960s he didn't write any more TV music.

Then in the early 1970s, UK TV began to dispense with these sorts of shows in favour of more realistic and gritty police procedural ones. Though earlier TV shows such as Z Cars and Dixon of Dock Green were already realistic to some extent, it was not until shows like The Sweeney (shot on grainy 16 mm film) that this approach began to dominate.

The dominance of the police procedural continued through the 1980s with Juliet Bravo, The Bill and Inspector Morse, into the 1990s with Prime Suspect, Cracker, Wycliffe, Dalziel and Pascoe, Silent Witness and A Touch of Frost, and carried on into the 2000s and beyond with Heartbeat, Midsomer Murders, Life on Mars, Ashes to Ashes, New Tricks, The Inspector Lynley Mysteries, Waking the Dead, Line of Duty, Lewis, Broadchurch, Happy Valley and countless others. And though Life on Mars and Ashes to Ashes had a fantasy-based premise, their execution remained firmly realistic.

While police procedurals have their own merits, there is something inherently stifling about an unbroken stream of detectives, case files, paperwork, and routine investigation, week after week, year after year—without the flair, imagination, or sense of adventure that made the ITC show so brilliant.

Seeing these older shows again on Freeview is not just nostalgia but a reminder that television used to thrill and inspire.

Was Heathcliff Really a “Laskar”?

In Emily Brontë's Wuthering Heights, the character Heathcliff is called a “laskar” as an insult by members of the upper-class Linton household, representatives of refinement and gentility. In early nineteenth-century Britain, “laskar” was an imprecise term referring broadly to non-European sailors (often South Asian, Middle Eastern, or Malay), but in everyday usage it had already drifted toward pejorative generalisation. It connoted poverty, roughness, moral inferiority, and foreignness rather than a precise ethnicity. Like many insults of the time, its force lay less in accuracy than in social positioning. In the novel’s context, “laskar” functions not as a literal racial description but as a classed and xenophobic slur, marking Heathcliff as socially inferior and an outcast.

This mode of description is not unique to that term. Heathcliff is also described as a “gypsy lad”, a phrase which, like “laskar”, has sometimes been read as ethnically literal. Yet in early nineteenth-century usage, “gypsy” frequently functioned as a loose marker of social marginality, vagrancy, lawlessness and dark appearance rather than as a precise ethnic designation. Its use participates in the novel’s wider pattern of metaphorical othering rather than clarifying Heathcliff’s genealogy. Heathcliff is repeatedly described in terms that blur the human and the inhuman (“dog”, “imp”, “devil”, “brute”), none of which are intended literally. Together, these labels form a vocabulary of exclusion rather than a set of biographical clues.

In recent years, Brontë’s use of “laskar” has been read literally by some commentators, who infer that Heathcliff was of Asian heritage. Yet if Heathcliff were unmistakably of Asian descent, the novel’s silence on this point would be remarkable. The narrative voices (Lockwood and Nelly Dean) are observant, judgemental and unafraid of detail. When Victorian novels foreground racial difference as a defining trait, they tend to mark it unmistakably. Brontë, however, never provides a clear physical description that would settle the matter. Instead, she layers metaphor upon metaphor: darkness of hair, darkness of temperament, darkness of origin. This suggests deliberate indeterminacy rather than evasion. Heathcliff’s “darkness” is moral, emotional and symbolic long before it is possibly racial.

A socially degraded, non-Asian Heathcliff fits the novel’s logic more comfortably than a clearly racialised one. The central transgression of Wuthering Heights is class violation. Heathcliff’s eventual rise in social and economic status provokes the terror and revulsion of the Lintons. He offends them not because he is racially “other”, but because he refuses to remain in the place assigned to him by the British class system. This reading also explains how Heathcliff can accumulate wealth, enter drawing rooms and command legal authority. Such upward mobility would have been socially and legally constrained for most colonial subjects in early nineteenth-century Britain, and the novel gives no indication that Heathcliff overcame those specific barriers.

Brontë was not writing social realism; she was writing Gothic tragedy. Heathcliff is not a sociological case study. His origins are unknown and his background and identity remain mysterious. Describing him too clearly would diminish his symbolic force. By allowing terms like “laskar” to operate between description and insult, Brontë ensures that Heathcliff remains a projection screen for fear, prejudice and cruelty. The novel is less interested in what he is than in what others do to him once he is seen as an outcast.

It is entirely plausible, and arguably textually stronger, to read Heathcliff as non-Asian, with “laskar” functioning as a generalised insult rooted in class contempt and xenophobic psychology rather than literal ethnicity. Brontë’s genius lies in refusing to resolve the ambiguity, allowing Heathcliff to remain a mirror for both societal prejudice and the imagination of the reader.

The Unrealistic Promise of the Second Amendment

In American politics, the Second Amendment is venerated as a foundation for personal freedom. For many US citizens (mainly on the right-wing of the political divide), the right to bear arms isn't just about self-defence, but about safeguarding personal freedom. The idea is that an armed population is essential to protect against an overreaching government. But in today's world, where advanced technology and military strength have shifted the balance of power, this argument no longer holds water.

In theory, a well-armed population could act as a check on government power or tyranny. But that theory was born in an era when the United States had to rely on militias, not fighter jets or drones. Nowadays it’s impossible to take that argument seriously. No matter how many guns people own, they stand little chance against the overwhelming force of the modern US military.

The US military is one of the most powerful in the world, and has technology that is superior to anything a civilian could match. Tactical nuclear weapons, stealth bombers, drones and fighter jets would render any resistance movement powerless. A group of civilians armed with hunting rifles wouldn’t stand a chance against the precision and reach of military aircraft, able to take out targets from miles away.

Also, today’s military can shut down communications and disable power grids, cutting off access to the tools needed for any coordinated resistance. Without communication and electricity, the fight would be over before it began.

So, when we look at the Second Amendment today, we can’t help but wonder if the argument for its role as a safeguard against tyranny is more a fantasy than a feasible reality. In the age of modern warfare, where the power of the state is nearly limitless, the the idea of armed civilians standing up to the government is, for all practical purposes, an impossibility.

‘How Beverley Turner Found a Home on Right-Wing TV’ by Ryan Soames—guest blogger

For the majority of her media career, Beverley Turner was remarkably uncontroversial. Her politics, insofar as they were visible at all, were mainstream and largely unremarkable. What changed was not a sudden, internal ideological "awakening" but the pushback she encountered from specific corners of the UK media and public when she began criticising COVID-19 lockdown measures, and the choices she made in response.

Turner first drew significant backlash in 2021, when she appeared as a guest on ITV’s This Morning. She clashed with presenter Dermot O’Leary after claiming that COVID-19 vaccines were not fully effective and suggesting that younger people might consider refusing them. Following the segment, she was reportedly banned from returning to the programme. A subsequent appearance on the Jeremy Vine Show sparked hundreds of Ofcom complaints. Turner later shared a video of herself crying, describing the experience as being “ambushed”.

These episodes highlight the reputational risks of dissent in mainstream media. Yet Turner’s response was not merely defensive: she eventually moved to platforms like GB News, which amplified opposition to COVID-19 measures and rewarded a more confrontational, oppositional style.

Media ecosystems are not neutral; they shape incentives, tone and identity. Once embedded within a partisan environment, a broadcaster is rewarded for alignment rather than nuance. Over time, heterodox positions can solidify into coherent ideological identities. Turner’s trajectory illustrates how structural incentives and personal choices intersect: while she faced pushback, she also embraced and cultivated the reactionary, grievance-driven style rewarded by sympathetic platforms.

Her early opposition to lockdowns evolved into a broader posture of institutional hostility, and in recent months, she has publicly expressed views that align with far-right talking points, such as supporting Donald Trump uncritically, and supporting his controversial use of ICE agents in Minneapolis. These choices show that she is no longer a marginal figure caught in a media vise; she is an active participant in a polarised, ideologically extreme discourse.

This process reflects a recognisable sequence:

1. Moral exclusion or public backlash in response to controversial positions.

2. Opportunities in partisan media that reward outrage and reinforce identity.

3. Adoption of broader ideological stances, often amplified by audience and platform incentives.

Turner is less an anomaly than a case study in how personal choices interact with structural pressures. Early ostracism does not excuse or justify her current views, but it helps explain the pathway by which dissenting voices can become entrenched in extreme positions. The lesson is not about her as a victim; it is about how polarised media environments create conditions where extremes thrive, and moderate voices are either pushed aside or radicalised.

Beverley Turner did not begin her career as a far-right figure. She has, however, chosen to embrace that role. The structural pressures of media ecosystems may have shaped the trajectory, but her current ideological stance is the result of conscious alignment, not mere circumstance.

‘From Analyst to Advocate: The Polarising Journey of Matthew Goodwin’ by Robert Miller—guest blogger

Matthew Goodwin, a former academic and political scientist, who held a professorship at Kent University, and is now a presenter on GB News, has had a career that has not been without controversy. 

Critics accuse him of being an advocate for populism's more extreme tendencies, with many questioning the objectivity of his work in that field. They argue that his interpretations of data and trends are often overly simplistic and tailored to fit a particular narrative, lacking the nuance required to fully understand complex political phenomena. These concerns are seen as casting a shadow over his contributions to the field, suggesting that his work might prioritise sensationalism over scholarly rigour.

A contentious aspect of his career is his shifting stance on immigration. In 2013, he argued that Britain had extensively debated immigration and that further stoking of public anger would destabilise the political system. This position was in line with calls for a balanced and measured approach to immigration policy. 

However, a decade later, he reversed his position, advocating for a more aggressive anti-migrant campaign and urging the government to mimic the hardline stance of US Republicans. This volte-face has been criticised as pandering to xenophobic sentiments and abandoning earlier calls for moderation. The shift has been viewed by some as a response to the increasing influence of nationalist and populist movements within British politics, as well as a strategic move to align with the more radical elements of his audience.

In his book Values, Voice and Virtue: The New British Politics, he argues that the UK’s elite is disconnected from the conservative instincts of the majority and that cultural institutions are dominated by cosmopolitan values that suppress dissent. His framing of these issues often aligns with reactionary identity politics, which critics argue distorts the true nature of Britain’s socio-political landscape. Of this, Oliver Eagleton said in The New Statesman on 25 March 2023:

“When setting out these positions, Goodwin often sounds like a duller Piers Morgan. Yet, unlike Morgan, he tends to obscure his most unpalatable opinions behind a dense thicket of polling data—distancing himself from their pernicious implications by informing us that this is simply what the average Red Wall voter thinks.”

Eagleton notes that while Goodwin acknowledges economic factors in the rise of populism, he primarily frames it as a cultural conflict between traditionalism and progressivism, often subordinating class issues to national identity. By emphasising cultural liberalism as the primary driver of populist sentiments, his analysis is said to overlook material grievances that have equally influenced political outcomes. This approach has sparked debate within the academic community, with some scholars arguing that it oversimplifies the relationship between economic hardship and political radicalisation. His critics argue that this perspective fails to account for the nuanced ways in which economic factors and cultural values intersect, thereby limiting the potential for comprehensive solutions to the challenges posed by populism.

Given these concerns, Goodwin’s influence in the field of political science is not without its challenges. His evolving stance on key issues, such as immigration, and his tendency to emphasise cultural rather than economic factors in his analysis have raised questions about the consistency and objectivity of his work.

His approach, which often aligns with reactionary viewpoints, suggests a potential prioritisation of sensationalism over nuanced understanding. As a result, these factors impact the perceived credibility and scholarly value of his research.

Sleep as a Rehearsal for Death

I’ve been thinking lately about dreamless sleep. Not the dreaming state, but the period where nothing at all is experienced. I think that state has something important to tell us about death.

Most people who don’t believe in an afterlife fear death because they fear “annihilation”: the idea of becoming nothing, of there being nothing after. Yet, when we look at it rationally, that fear relies on a strange assumption: that there will still be someone there to experience the nothingness. In other words, it asks us to imagine ourselves existing in a state where we cannot exist, which is paradoxical.

Dreamless sleep is the closest thing we know to genuine non-experience. When we wake from it, we don’t remember darkness, absence or being in “nothingness”. We are aware only of a discontinuity: one moment we are awake at night, the next we are awake in the morning. The interval itself is not experienced at all.

This shows that non-experience cannot be experienced. The fear of annihilation depends on imagining ourselves enduring nothingness, but dreamless sleep demonstrates that nothingness is not an experience in the first place. It cannot be feared, it cannot be remembered and it cannot exist as a conscious state. It is a kind of absolute neutrality, beyond the reach of thought or sensation.

Interestingly, we already practice “dying” every night when we sleep. We lie down, let go of control and allow consciousness to dissolve, without fearing annihilation. In sleep, we surrender ourselves to a state of non-experience that is nonetheless essential to life.It is a small rehearsal for what awaits us at the end of life, a reminder that the cessation of awareness is not inherently terrifying.

This does not, of course, remove all the fears surrounding death. We feel sadness at leaving loved ones behind, regret unfulfilled ambitions and have anxiety about the process of dying itself. These fears are understandable because they belong to the living mind: to consciousness that cares, hopes and remembers. But it does remove the specific terror of annihilation: the imagined torment of being trapped in nothingness. That fear only arises if we assume that non-experience could somehow be experienced, which is a logical impossibility.

Viewed this way, death is not an experience waiting for us at the end of life. It is the end of experience itself. What troubles us belongs to the living mind, on this side of consciousness. Beyond that, there is nothing: no fear, no awareness, only the absence of both. And perhaps that is not something to fear, but something profoundly simple: a return to dreamless sleep, which we pass through each night.

'The New York Post's False Claims About Renee Nicole Good' by Robert Miller—guest blogger

Recent coverage in certain outlets, including a New York Post article, has painted a distorted picture of Renee Nicole Good, the Minneapolis mother tragically killed by a federal ICE agent on 7 January, 2026. A careful review of reporting from multiple reputable sources shows that many claims in that story are unverified or false.

Renee Nicole Good, age 37, was shot during an ICE enforcement operation in south Minneapolis. She was a mother of three and a poet, with no known history of violent activism. Federal authorities assert the shooting was in self-defence, while some local witnesses have questioned the circumstances. The investigation is ongoing.

Debunking the False Claims

1. “Anti-ICE warrior” and “trained to resist federal agents”

The Post described Good as a militant activist trained to confront ICE agents. There is no evidence from credible reporting to support this. Family members and community sources describe her as a compassionate parent, not an organised protester or militant. No public records or independent reporting confirm that she received any formal training to resist law enforcement.

2. Involvement through a charter school pushing activism

The article claimed Good became involved with ICE Watch through her child’s school, which it described as politically radical. Reliable reporting confirms that the Southside Family Charter School emphasises social consciousness, but there is no evidence connecting Good’s school involvement with organised resistance to ICE operations. This appears to be speculative and anecdotal.

3. Organized confrontations and calls to violence

The Post alleged that ICE Watch and aligned groups encouraged barricading streets or ramming ICE vehicles. Independent sources confirm that some community groups monitor ICE activity, but there is no verified evidence that Good participated in violent actions, and claims of systematic coordination are unsubstantiated.

4. Claims of a 3,200% spike in attacks on ICE agents

The article cited a dramatic increase in vehicular attacks against federal agents. No government or reputable independent sources support this specific statistic. It appears to be an exaggerated figure not grounded in verified data. 

While the circumstances of Good’s death are still under investigation, the confirmed facts are: she was killed during an ICE operation, she was a mother of three and accounts of her actions immediately before the shooting are disputed. Assertions about her being a trained activist or participating in violent anti-ICE campaigns are unsupported by evidence.

Why David Sinclair’s Supplement Stack Keeps Changing

When the antiaging and longevity scientist David Sinclair first published his personal anti-ageing supplement stack, I thought it was unusually credible. He was a Harvard scientist telling us about a regimen that appeared to follow directly from his own scientific research: boosting NAD+, activating sirtuins, engaging AMPK pathways and combining these with lifestyle choices like fasting and exercise. At the time, I thought it was coherent, mechanistic and based on a specific theory of ageing.

Years later, however, my confidence has largely evaporated: not because the individual supplements lack antiaging benefits, but because the stack itself has become unstable.

His supplement regimen has changed repeatedly, often on a yearly basis. Supplements are added, removed, reintroduced and removed again. Each change is presented as refinement, but taken together they raise an uncomfortable question: if the science was really driving these decisions, why is there so little convergence?

Ageing science in humans moves slowly, and evidence accumulates over long timeframes. Annual reversals in personal supplement protocols are, therefore, unlikely to be based on decisive new human data. Instead, they show something else: a continual hypothesis-cycling based on animal studies, in-vitro work and emerging trends in the longevity community. While this kind of evidence is useful for research exploration, it is not strong enough to justify confident, frequently changing supplement prescriptions.

This emphasises an important distinction that often gets forgotten in longevity discussions: mechanistic plausibility is not the same as validated intervention. Many of the supplements Sinclair currently takes (NMN, resveratrol, spermidine, fisetin and berberine) have very plausible anti-ageing mechanisms. Some even have sound and encouraging early data. But plausibility alone does not explain why a protocol should keep mutating if it is truly evidence-led. In longevity supplement science, recommendations gradually narrow as weak candidates are discarded and strong ones remain. What we see here is not narrowing, but frequent rotation.

Also, most anti-ageing interventions act slowly, if they act at all, over years, not weeks or months. By frequently changing his supplement protocol, Sinclair undermines the very possibility of knowing whether any individual intervention is doing anything meaningful.

Another factor is Sinclair’s evolving public role. Early on, he spoke primarily as a scientist. Over time, he has also become a central figure in the longevity influencer community. That brings different incentives: visibility, novelty, relevance and personal branding around “what I take”. In that environment, his frequent supplement updates signal progress and authority, even when the underlying evidence has not meaningfully changed.

None of this means Sinclair is acting in bad faith. It just mean that his supplement stack should be understood for what it is: a personal supplement regime experiment that he is conducting on himself, which is continually revised, and is exploratory rather than definitive. It is not a scientifically validated anti-ageing protocol, and it should not be seen as one.

The irony is that his original stack inspired confidence precisely because it appeared stable and theory-driven. Its constant evolution has had the opposite effect.

Reflections on a Lost Cinema

Before I studied poetry, I spent two years studying film; not at a prestigious film school, but at a small college in Liverpool, called South Mersey College. Those were the best two years of my life.

At the college, we watched classic Hollywood films by directors like Howard Hawks, John Ford, Orson Welles, Alfred Hitchcock and William Wyler, alongside European avant-garde films by Jean-Luc Godard, François Truffaut, Sergei Eisenstein and Andrei Tarkovsky. We studied American Direct Cinema through the films of Richard Leacock, D. A. Pennebaker and Albert and David Maysles. And also the experimental filmmaking pioneered by Len Lye and Stan Brakhage, as well as the underground cinema of Andy Warhol and Kenneth Anger. After each screening, we analysed the films’ themes, visual style, editing and historical context.

We also studied movements such as German Expressionism, Film Noir, Italian Neorealism, the French New Wave, Soviet Montage, Constructivist cinema, Surrealism, British Social Realism and New Hollywood. Our reading list included Rudolf Arnheim’s Film as Art, Sergei Eisenstein’s Film Form and The Film Sense and André Bazin’s What Is Cinema?

I was fascinated by the vibrant use of colour in 1940s and ’50s films. Bright, saturated hues made every frame look like a living painting. Music was equally as important to me, producing maybe eighty percent of a film’s emotional impact. At that time, one of my musical muses was Aaron Copland. I had only recently discovered his works, such as Fanfare for the Common Man and the score he composed for the film The Red Pony. Both pieces were life-affirming, and they became a personal soundtrack to my daydreams of the sorts of films I wanted to make. In my mind, I created film sequences, rising and falling with the flow of the music.

Had I known then how cinema would evolve, I might have been less optimistic. The digital revolution has changed everything. Traditional film stock (16 mm, 35 mm, 70 mm) has largely disappeared. Cameras have become lighter, and handheld naturalism dominates the look of films, with available light replacing carefully designed chiaroscuro lighting schemes. And long takes have largely replaced montage. Digital detail is sharper, but it lacks the depth and texture of film. The deliberate use of light, shadow and colour (the visual poetry that once defined films) has given way to bland, uniform imagery. Music, too, has shifted towards ambient textures rather than emotional scores.

Maybe this will change, and film will return as a tactile, expressive medium once digital technology matures. But for now, many contemporary films have no magic. Yet when I hear a Copland score, I can still glimpse the wonder that first drew me to film.

‘Death, Taxes and Poetry, or, Poetry is My Disability’ by Joritz-Nakagawa—guest blogger

Unable to bear it any longer, I start splintering . . .

I write this in big letters, my eyesight is fading . . .

When my father in law died I wrote a poem the second line of which was "No one will notice Milton's light has dimmed" and which ended ". . . and none of this is actually visible from the lighthouse."

This poem was published under the title The Lighthouse, in New American Writing, a print journal I am very fond of, although I read mostly online now, and also appears with no title in my 2013 poetry collection titled FLUX.

Of course I was referring to John Milton's famous sonnet ‘When I Consider How My Light is Spent’ also known as ‘On His Blindness’ and ‘Sonnet XIX,’ a poem I taught several times in an undergrad course in comparative poetry here in Japan.

After that, my mother in law died, my sister in law died (in October 2025), and my husband has been diagnosed with terminal cancer. My own parents have died, two siblings died of cancer when they are the age I am now, friends died, friends of friends and relatives of friends died, etc. et al.

I survived advanced cancer but it was a kind of devil's bargain: you can live, or you can choose palliative chemo, but your body and new life will be (almost?) unrecognizable in many important ways. But not in this way: poetry is still my disability.

I have written somewhat extensively about death as well as my multiple chronic illnesses and other disabilities and those of others.

When at one of my lowest points, before my third surgery for cancer, I was so frightened of death and further disability that I read Emily Dickinson's poems aloud to myself every night from my bed. Any poem of hers that mentioned psychic pain would do. And there is a great many of such poems by Dickinson, so there was much to choose from! I didn't even have to repeat myself, as I often do!

I am not saying however that disability is bad or necessarily frightening. I don't think that at all, and I was already disabled anyhow before I got cancer. I just became much more so—more disabled I mean. I was afraid of suffering, which is not the same thing as disability, or death, and the unknown, and perhaps a feeling of my own powerlessness in this situation. Please let's not confuse these!

I was net surfing recently and found somebody much younger than myself referring to a group of young persons who are "dark" (their word, not mine!) and inevitably drawn to Plath! I was very surprised to hear this remark! First, I was pleasantly surprised to learn that young people know who Plath is! Although always interested in Plath due to her thematic range, theatricality, power, mastery of verse and stylistic achievements, I didn't really feel the depth of that kind of darkness that appears in some of her late poems until later in life when due to extensive bereavement I felt I was living in it. Or as a Christian friend said to me recently, maybe this life on earth is hell, and heaven is what we get when we die?

But we (= I) also know, if only from opera, that love makes a heaven out of life if only temporarily; love is fragile and can turn to hate or disinterest or disappointment, etc. with relative ease. Can it bounce back with relative ease?

The happiest elegy (actually a so-called "self-elegy" which is why it is more cheerful!) I know is Christina Rossetti's ‘Remember,’ another poem I have taught to undergrads; the saddest is ‘Ending with a Line From Lear’ by Marvin Bell, which I have not. At times of intense suffering (e.g. physical pain, or, bereavement or depression) I have often repeated to myself his line: "I will never be better again" oftentimes followed by the final line, the repetition of the word "never." I was wrong about that, but it helped me to say it, anyway. There's also song lyrics by the band Everclear which begin "I hate waking up, it means I have to die again tonight…" another set of words I have repeated in my head upon waking up during my worst moments in life. As well as the beginning and ending of William Carlos Williams' poem ‘The Widow's Lament in Springtime;’ interestingly, the lyrics to Everclear's ‘Fire Maple Song’ contains a line similar to one in Williams' poem. These poems and songs soothe me somehow during difficult times, although they do much more than that.

Yet life changes, we change, things change.

But poetry is still my disability.

As a person with fibromyalgia, one of the Plath lines I most identify with, from her incredible poem ‘Tulips’ published when I was two years old, is: "The tulips are too red in the first place they hurt me."

I was raised by Plath. No, I don't mean I was raised on Plath or knew her personally. I mean Plath's generation was my mother's generation and they both raised me, if not revived me. A fiction writer friend who also likes poetry once said: "All women can relate to Plath." She meant all women of our generation. Because we were raised by Plath.

When I say "blue bladder" I don't mean the color blue. I mean my bladder is sad. Because it was removed from my body seven years ago.

When I say "There are baroque places inside me" I am quoting someone else.

Poetry is my disability.

NOTES:

“There are baroque places inside me” comes from the poem ‘The Believable Weather of His Baroque Face on a Wall’ by Raymond Farr in the journal Upstairs at Duroc, ed. Barbara Beck, issue 17, 2020, Paris.

A monograph by the author about Plath and other female poets under the title Dying Swans is available online via Argotist Ebooks.

Bob Dylan’s “Jimmie Rodgers” Voice on ‘Nashville Skyline’

Last year I noticed for the first time that Bob Dylan’s singing voice on Nashville Skyline was a direct homage to Jimmie Rodgers. I’d been a Dylan fan for years without realising this; and wouldn’t have, had I not happened to hear a clip of Rodgers singing. I was astounded by the similarity.

When Nashville Skyline came out in 1969, Dylan’s voice was widely remarked upon as being very different from his usual one. The nasal, reedy tone had been replaced by a warmer and smoother sound. This was seen as being more “country music–oriented”, though in what specific sense was never really explained. It was simply taken as a given.

As far as I know, no one has ever identified this “specific sense”, which I now believe to be Dylan’s adoption of Jimmie Rodgers’ vocal style.

Jimmie Rodgers is often called “the father of country music” for his relaxed, storytelling delivery, which helped define the genre’s emotional vocabulary. He was also distinct in his use of yodelling, which, as far as I know, was never used in country music before him.

Dylan, with his near-encyclopaedic knowledge of folk and country songs, would have known Rodgers’ songs inside out. He grew up with Rodgers’ music, and in interviews mentioned owning the album Hank Snow Sings Jimmie Rodgers as a teenager. And in The Bootleg Series Vol. 15: Travelin' Thru, 1967–1969 sessions, he sang Jimmie Rodgers medleys with Johnny Cash.

It seems very likely, then, that for Nashville Skyline he chose to base its vocal “sonic architecture” on Rodgers’ voice. Every song on the album can be heard as an homage to Rodgers’ singing.

Though critics immediately noticed Dylan’s changed voice, none remarked on how much it sounded like Rodgers’. That oversight is glaring, given the unmistakable resemblance.

And while Dylan never said outright, 'I sang like Jimmie Rodgers on Nashville Skyline' the parallels are obvious.

This is not to suggest that he was "channelling" Rodgers or mimicking him. It was more a continuation of a lineage. Rodgers’ voice represented the ordinary person singing about their troubles and pleasures in a simple, unembellished way. However, where Rodgers had turned American “work songs” and blues into country, Dylan turned country into something like an “art song”—but without pretension.

Rachel Lisi—Still Remembered

A dear friend of mine died in 2010, aged only 40. Her name was Rachel Lisi. She was an unknown poet who deserved to be known. She was also a photographer and graphic artist, and did a few cover images for Argotist Ebooks.

I just wanted to mention her now, after all these years, to keep her memory alive.

Here is a YouTube video her family put together after she died.

https://www.youtube.com/watch?v=8xbL4R0CS34

Kent Johnson: In Praise of Mischief and Literary Disruption

It’s been several years now since Kent Johnson passed. I had corresponded with him for roughly a decade, from around 2008 until a few months before his death, and I once interviewed him for The Argotist Online. At one point, he approached me about publishing an ebook of his collected writings. I was eager to do so but the project ultimately fell through: the sheer volume of material he offered, and the extensive editing it required, felt beyond my capacity. Still, I was genuinely flattered that he had asked me—and that he had such faith in ebooks as a medium.

Kent was something of a mythical figure in the circles of contemporary poetry. He was someone no one could quite categorise: was he a critic, a satirist, an archivist or a literary provocateur? When he was a child in Montevideo, he played ping-pong with the sons of ambassadors and even had Duke Ellington pat him on the head, and saying, ‘And what is your name, handsome young man?’—which he mentioned decades later with fondness. And in his early twenties, he was a literacy teacher in Nicaragua, living with revolutionaries and translating his first poetry collection in collaboration with Ernesto Cardenal, a priest and poet.

In the correspondence I had with him, I saw the breadth of his vision. He engaged deeply with avant-garde practice, the politics of poetry and the sociology of literary communities. He was always curious about the literary world; and no claim, scandal and poetic controversy was too insignificant for his attention. He questioned cliques, examined complicity and exposed absurdities with a sharp wit, but never with cruelty.

Looking back, I think what fascinated him most about poetry was its potential as a kind of “performance art”. Not in the sense of being performed as in “performance poetry”, but as an “idea” that could be used for performative interventions: mischief, satire or creative disruption. He cared less for poetry as a personal or aesthetic expression than for its capacity to function as a “disruptive element”—a kind of conceptual defamiliarisation that could unsettle, provoke or even create chaos.

Even in his youth, chaos was never too far away. A bowling alley in Carrasco, Uruguay, was bombed by Tupamaros (a Marxist–Leninist urban guerrilla group that operated in Uruguay during the 1960s and 1970s) just a few hours after he'd been there with the two sons of two CIA counterinsurgency specialists.

In the end, his work demonstrates that poetry is not only about the page, but is a performative act, a playground for imaginative intervention. He treated the literary world as a stage, and poetry as the stage directions.

When my friend the poet and photographer, Rachel Lisi, died unexpectedly at the age of only 40 in 2010, Kent commiserated with me, saying that though as a poet she was little-recognised, she would always be remembered. May the same be true of him.

Poetry and Song Are the Same Artform

The debate over whether poems and songs are separate art forms or simply variations of the same aesthetic expression has a long history. At first sight, the difference seems obvious: poems are primarily meant to be read, while songs are experienced as sound, with music and vocals creating a listening experience. This distinction is often taken as self-evident, determining how audiences approach and categorise these forms. Yet this superficial difference overlooks deeper questions about how each affects us emotionally and cognitively, and about the complex ways in which language, sound and rhythm interact to determine artistic experience.

One significant difference is in how we experience rhythm. Poems rely on rhythm, rhyme and line breaks built into the written text, engaging the reader’s “inner ear” as they mentally hear the flow while reading. This internal auditory experience is an imaginative process, determined by linguistic background, prior knowledge and personal interpretation. Songs, on the other hand, deliver rhythm externally through melody, instrumentation and vocal performance, creating a direct auditory impact. The physical presence of sound waves and the nuances of timbre, pitch and volume give songs a sensorial immediacy that written poetry lacks. The performative element (the singer’s voice, the arrangement, even the listening setting) adds layers of meaning and emotion beyond the text itself.

Critics sometimes suggest that poems and songs invoke fundamentally different responses, yet much of this originates from cultural expectation and setting. In many traditions, songs belong to communal gatherings, rituals and celebrations, engaging listeners through shared sound and movement, while poetry is more often associated with solitary reflection or intellectual engagement. Reading a poem draws on the “inner ear”, determining rhythm and tone through imagination, whereas hearing a song delivers these qualities directly through melody, repetition and performance. In both cases, response is determined not only by the work itself but by the way it is encountered: in private or in company, in silence or in sound, in memory or in the moment. The boundary between them is fluid: many songs contain poetic language, and many poems have been set to music, underscoring the interplay between the two forms.

Despite this, the difference between a poem read on the page and a song heard aloud is less absolute than it seems. Poetry, when read, activates the imagination and inner hearing, drawing us in through patterns of sound and rhythm in the mind’s ear. These sonic qualities can evoke emotion and meaning much like music does, even in silence. The pauses between lines, the visual layout of stanzas and the typography of the text all shape its rhythm and pacing, producing effects that songs sometimes echo but cannot fully replicate. This internalisation of sound allows poetry to transcend the limitations of the printed page, creating a deeply personal and intimate experience that varies widely between individuals and contexts.

Whilst formal distinctions remain (poems are lines on a page, songs combine lyrics with melody and instrumentation), both share a common aesthetic foundation of sound, rhythm, voice and emotional resonance. The difference between them lies more in context and expectation than in essence.

Neuroscience corroborates this connection, demonstrating that reading poetry and listening to music engage overlapping brain networks, particularly in processing rhythm, sound patterns and emotion. Brain imaging shows that both activities stimulate regions linked to auditory perception, emotional regulation and pattern recognition; whether the rhythm is imagined through the reader’s “inner ear” or carried to us on waves of melody and instrumentation. At the same time, each form also draws on specialised circuitry: poetry on the page largely utilises language-processing areas, while song largely utilises pitch and melody-related regions. This blend of shared and distinct activation suggests that the mind responds to both with a common aesthetic framework, yet determines that response to match the sensory pathway (silent reading or audible performance) through which the art is experienced.

Ultimately, the difference between poems as read experiences and songs as heard experiences shows how context, perception and mental engagement determine our experience of artistic expression. Recognising their shared aesthetic roots and the fluidity between reading and listening gives us a broader appreciation of how rhythm, voice and sound create meaning: whether imagined in the mind or heard through the ears. The borders between literary and musical arts, therefore, are permeable, shifting with culture, history and individual perception.

'GB News Overrates its Ratings' by Andrew Davies—guest blogger

GB News is claiming a "seismic moment" in British broadcasting. Why? Because in July 2025, it barely managed to edge past the BBC News Channel in average daily viewership. But behind the chest-thumping, the reality is far less impressive, and far more revealing.

According to BARB, GB News averaged around 80,600 daily viewers last month, edging just ahead of the BBC News Channel’s 78,700. That’s a lead of fewer than 2,000 people. GB News has also announced strong performance in key time slots like breakfast and weekday evenings, framing it as a transformative moment in UK broadcasting. But dominating a few hours in the day on a low-reach channel like GB News doesn’t make it a media powerhouse—it simply confirms its status as a niche outlet with a loyal, if limited, audience.

GB News has always styled itself as the underdog ("the channel for people who feel unheard") but what it really offers is a steady diet of manufactured grievance and culture war talking points. If it’s drawing in viewers, it’s not because of journalistic rigour. It’s because it knows how to serve outrage with breakfast and paranoia with the evening headlines.

And yet even within its own narrow definition of success, the victory is hollow. When we look at the broader picture, the BBC remains overwhelmingly dominant.

GB News might have edged a daily average, but the BBC News Channel’s weekly reach still far exceeds it—often more than double. That means more people across the UK are watching the BBC, even if only briefly, while GB News relies on a smaller base of habitual viewers. That is not really growth, but more like saturation.

Then there’s the rest of the BBC's output, which dwarfs anything GB News could hope to match. BBC One’s Breakfast, Six O’Clock News and Ten O’Clock News still reach massive audiences. None of those numbers are included in the News Channel’s BARB figures. And that’s before we even include iPlayer and the BBC’s website and app, which together draw more than 40 million users. GB News online just draws over 10 million.

And radio? The BBC’s network of national and regional stations delivers news to millions more every day. GB News, by contrast, doesn’t even try.

So GB News, despite its claims of speaking for "the people", still trails badly in that department. You can game viewing figures for a time, especially when your programming verges on the sensational, but you can't manufacture credibility.

If anything, this supposed breakthrough shows the limits of GB News. It’s carved out a niche. That’s all. A vocal, partisan slice of the public is watching more intently, but that doesn't mean the channel is reshaping British media. It means it's doubling down on its core audience while alienating the rest.

So despite all the noise GB News makes, it’s still playing catch-up.

‘The Poetics of Ambiguity: Romanticism, Empiricism and the Modern Mind’ - free ebook

The new ebook from Argotist Ebooks is ‘The Poetics of Ambiguity: Romanticism, Empiricism and the Modern Mind’ by Jeffrey Side.

Description: 

“This book began life as a doctoral thesis written between 2000 and 2007, a period during which I became increasingly disillusioned with the dominant aesthetic assumptions underpinning both Romantic and contemporary mainstream poetry. At the heart of my research was a single question: why did so much poetry—even that which purported to challenge cultural norms—remain epistemologically conservative? Why did it continue to treat language as a transparent medium, perception as unmediated access to reality and the self as a stable, expressive core? The answer, I gradually came to realise, lay in the unexamined legacy of empiricism. What I found in Romantic poetry—especially that of Wordsworth, Coleridge and their successors—was not the radical inwardness or imaginative freedom often celebrated in literary histories, but rather a poetics that remained fundamentally tethered to an Enlightenment faith in perception and observation. Far from breaking with empiricism, Romanticism often perpetuated its core assumptions, reconfiguring them within a poetic vocabulary that lent affective weight to what were essentially epistemological structures of the empirical gaze.” 

Available as a free ebook here: 

https://argotistebooks.blogspot.com/2025/07/the-poetics-of-ambiguity-romanticism.html

The Evolution of the Western Film Score

I first came across the music of Aaron Copland in 1989. I already knew that his work had influenced the sound of Hollywood Western film scores, most notably Elmer Bernstein’s The Magnificent Seven. I had assumed Copland had been the only influence behind this kind of music. I didn’t realise that what we now think of as “Western” film music had developed over time, influenced by several composers before Hollywood adopted it as the sound of the cinematic American West.

One of those earlier composers was Ferde Grofé. His Grand Canyon Suite came out in 1931, before Copland produced a similar sound with Prairie Journal in 1937. Though not written for film, its sweeping orchestration would go on to influence Hollywood composers during the 1940s.

While Grofé wasn’t a film composer himself, his orchestrational style gave Hollywood composers new techniques for evoking the American West. This can be heard in Max Steiner’s score for They Died with Their Boots On (1941), which has strong similarities to Grofé’s Grand Canyon Suite.

Before the 1940s, the Western genre had no fixed musical identity. Early Westerns relied on film orchestrations that followed general film music conventions, without any attempt to sound specifically “American” or “frontier”.

That changed with composers like Dimitri Tiomkin and Jerome Moross. Tiomkin’s scores for Red River (1948) and High Noon (1952) incorporated folk melodies, hymns, guitar and harmonica. And Moross’s score for The Big Country (1958) had a spacious feel that matched the landscape.

So far, we’ve looked at how this musical style evolved through Grofé and the film composers he influenced. Now we will look at how Copland’s music fits into this evolution.

As mentioned earlier, Copland’s first foray into the kind of sound we now associate with the American West came with Prairie Journal. While this was not written with Western tropes in mind, it used many of the musical elements (open harmonies, folk-like melodies and a sense of spaciousness) that, as we have seen, would later become associated with cinematic depictions of the American West.

The following year, Copland’s ballet, Billy the Kid (1938), marked a turning point. It used cowboy songs, square dance rhythms, and a more minimalist style of orchestration. Although it was written for the stage, it would define how the West sounded in film, especially by the 1960s, when Elmer Bernstein drew heavily on it for his score for The Magnificent Seven.

Interestingly, though Copland had written a score for the 1948 Western, The Red Pony, it had no influence on Western film music in the '40s and '50s.

What emerges, then, from this brief history is not one clear origin point for Western film music, but two separate paths developing alongside each other. One came from Grofé (lush, grand and pictorial), which dominated the Hollywood Westerns of the '40s and '50s. The other came from Copland (minimalist, folk-based and direct), which became predominant in the 1960s and thereafter.

Exposing the Flaws in the Observer’s Salt Path Critique

A recent article in The Observer called ‘The real Salt Path: how a blockbuster book and film were spun from lies, deceit and desperation’ has caused some controversy. It presents a damning investigation into Raynor Winn’s bestselling memoir The Salt Path, calling into question its truthfulness and suggesting that Winn and her husband “Moth” built their public image on a foundation of legal trouble, financial misconduct and selective storytelling.

While the article presents serious claims, and cites multiple sources to support them, its tone, framing and rhetorical style raise their own questions, about journalistic bias, assumption-laden reporting and what truth in memoir really means.

From the headline alone, the tone is set: “spun from lies, deceit and desperation”, is not neutral language. It prepares the reader for scandal before the evidence has even begun. This isn’t unusual in click-bait media, but in investigative reporting, such language can subtly (or not so subtly) shape a reader’s judgement.

Throughout the article, sources who speak critically of Winn (especially Ros Hemmings, a former employer’s widow) are presented as credible and emotionally grounded, while Winn herself is largely silent, represented only by a short legal statement. The article makes no serious attempt to balance its narrative with a fuller version of Winn’s perspective. The effect is to turn one side of a complex story into a presumed truth.

The article depends heavily on Winn’s past legal and financial troubles, most notably an alleged embezzlement case from 2008, settled out of court with a non-disclosure agreement. It’s a serious allegation, but the reporting treats this as a smoking gun that discredits The Salt Path entirely, without acknowledging that memoirs often include omission, thematic shaping and selective focus.

Similarly, the article notes that Winn and her husband owned property in France during their supposed "homelessness", and later refers to it as "uninhabitable". But this key context is folded into a paragraph mid-article, with little exploration of what "uninhabitable" actually meant in practice. The framing leans toward suspicion rather than clarity. If the property was uninhabitable in the sense that it could not be lived in, then Win and her husband were indeed homeless. The lack of clarity about this in the article, allows for the implication that they had options that they hid from readers. That might be technically true, but without examining the real condition or accessibility of that French property, the reporting veers into insinuation.

An assumption running through the article is that because Winn omitted parts of her past, she must have intended to deceive. But memoir is not autobiography. It’s an inherently selective genre, based around emotional truth and narrative arcs, not exhaustive chronology. Many people who write memoirs, write under pseudonyms, simplify time-lines, or emphasise thematic resonance over literal precision.

The article also assumes that because some readers were moved by the story, they might have acted on it in misguided ways, and that therefore Winn’s alleged misrepresentations could cause “real harm”. That claim is speculative and unsupported by evidence. It functions as a rhetorical device, not a documented consequence.

One of the strongest challenges raised in the article is over Moth’s diagnosis of corticobasal degeneration (CBD). Several neurologists are quoted expressing scepticism about the longevity and reversibility of his symptoms as portrayed in the book. Yet even here, the article admits there is nothing to disprove the diagnosis. It also acknowledges that medical anomalies do happen.

Ultimately, the article tries to draw a hard line between fact and fable in a literary form that has never been that tidy. The claim that The Salt Path misrepresents Winn’s life might have merit, but does that invalidate the emotional and symbolic journey that so many readers found meaningful?

The article suggests that Winn’s supposed deceptions disqualify her from telling a redemptive story. But that’s a moral judgement, not a literary one. The uncomfortable reality is that flawed people can write true things, and inspirational books don’t have to be written by saints. Of course, redemptive arcs can be misused or feel too convenient—but that doesn’t mean they’re always inauthentic, or that "flawed" narrators can’t earn them.

The article raises serious questions. It uncovers contradictions, omitted facts and unresolved tensions between the private past and the public story. But its tone is adversarial. 

It’s worth noting that the journalist behind the Observer piece, Chloe Hadjimatheou, was previously found by the BBC’s own Executive Complaints Unit to have breached editorial standards in a separate investigation—specifically, a 2021 Radio 4 documentary that included false claims and unsupported insinuations. The BBC later admitted the programme failed to meet its accuracy standards. Given this prior finding, it’s reasonable to approach her current reporting with caution—especially when it relies heavily on implication and selective framing.

This kind of history suggests a need for caution when weighing reporting that relies heavily on implication and selective framing.

Good journalism should probe. But when it loses sight of balance, it can resemble the thing it critiques.

The Genius of ‘Twelve Poems of Emily Dickinson’ by Aaron Copland

Emily Dickinson’s poetry can often seem reserved and difficult to access when just read on the page. Her writing is usually short and indirect, and sometimes seems emotionally distant. But if we look more closely, there is much going on beneath the surface. Her poems deal with major themes like nature, grief, love, death and the inner life: all explored in a very personal and introspective way.

The composer, Aaron Copland, inspired by Dickinson's poetry, created a musical setting for twelve of her poems. By doing this, he brought out the emotional intensity that might not always be obvious in the written text. Instead of making the poems more dramatic or adding lots of flourishes, He used subtle musical choices to highlight what was already there. His settings seem to “breathe” life into the words, revealing the feelings hidden within them. The result is a powerful balance between simplicity and deep emotion, where Dickinson’s careful language interacts with his expressive music.

The collection, called Twelve Poems of Emily Dickinson does not follow a narrative, but the order of the pieces, nevertheless, creates a sense of emotional movement. It begins with awe at the beauty in nature, then moves into more painful subjects like loss, and ends with a quiet reflection on death. Copland never forces meaning onto the poems, instead, his music surrounds the text gently, helping the listener to hear Dickinson’s voice more clearly.

Rather than just being musical accompaniments, his settings feel like they are thinking and feeling alongside the poems, and so amplify the feeling in Dickinson’s work. He captures her mix of clarity and mystery, belief and doubt, and even the emotional tension that sometimes is just below the surface. Together, the poems and the music create something that is both intimate and powerful.

Here are a few selections from the work, with brief commentary:

‘Nature, the gentlest mother’

This opening piece sets a gentle and peaceful mood. Copland’s music helps bring out the softer, more nurturing side of Dickinson’s poem. The musical accompaniment flows calmly, and the vocal line is smooth and relaxed. This matches the poem’s idea of nature as patient and kind, even to those who do not seem to deserve it. There’s also a quiet sense of reverence, as if the music is skirting around something sacred. At the same time, the music does not ignore the slight irony in the poem: it leaves room for the listener to notice that this version of nature might be more complicated than it first appears.

‘Why do they shut me out of Heaven?’

This piece is emotional and urgent. Copland uses sudden changes in rhythm and dynamics to show the speaker’s frustration and confusion. The question in the title seems like a real cry, not just a rhetorical question. The line ‘Did I sing too loud?’ becomes an intense moment in the music, where the speaker seems to be reduced to a state of anguished vulnerability. This turns the poem from something that might seem distant or sardonic into something raw and personal. Copland makes the pain and longing in the poem feel very real.

‘Heart, we will forget him!’

This is probably the most emotional piece in the work. The poem is about trying to forget someone you loved, and Copland captures that with music that is slow, quiet and full of pauses. The voice sounds hesitant, as if the speaker is not sure she can really achieve what she is aiming at: to forget her lover. The music also seems to hold back, which adds to the feeling of sadness and inner conflict. There is a sense that though the speaker is declaring that she will forget her lover, the music suggests that forgetting is going to be much harder than she is willing to admit.

‘I felt a funeral in my brain’

This piece is unsettling and intense. The music uses sounds that mimic bells or footsteps, and the rhythms feel unstable, which matches the poem’s description of mental anguish. As the poem continues, the music becomes stranger and more disjointed, showing how the speaker is losing touch with reality. On the page, this poem can feel quite abstract or abstruse, but Copland’s music makes the experience physical and immediate. It feels like we are inside the speaker’s mind as she unravels.

‘Because I could not stop for Death’

The final piece in the work is calm and slow, with a peaceful mood. Copland does not make the idea of death frightening, but presents it as something gentle and inevitable. The steady pace of the music gives the feeling of a slow journey, which fits the poem’s description of being carried by Death in a carriage. The vocal line does not rush, and the music is soft and even. This creates a mood of acceptance rather than fear. The ending feels like a quiet conclusion, not a dramatic finish, which works well for the reflective tone of the poem.

What makes Twelve Poems of Emily Dickinson so effective is that Copland does not try to make the poems overly dramatic or emotional. Instead of adding lavish musical gestures, he keeps everything simple and understated: just like Dickinson’s writing, which often says a lot with very few words. His music does not take over the poems, but gently brings out the feelings already inside them. Rather than changing Dickinson’s work, Copland seems to complete it.

An Analysis of Internal Contradictions in The Beach Boys’ ‘God Only Knows’

I was saddened to hear of the recent passing of Brian Wilson, a towering figure in pop music whose influence extends far beyond his renowned work in arrangements, harmonies and production. While not all of his lyrics were celebrated as literary masterpieces, many were marked by an honesty and heartfelt sincerity.

One of my favourite songs of his is ‘God Only Knows’, and on hearing the news of his death, I listened to it again and, for the first time, noticed a subtle yet significant contradiction in its opening verse—an observation that prompted a deeper look into the song’s lyrical complexity.

‘God Only Knows’ is widely regarded as one of the most enduring love songs in popular music. Its lyrical and musical composition has been extensively praised, yet a closer examination of the lyrics reveals subtle internal contradictions that enrich the emotional complexity of the song. These contradictions, far from detracting from the song’s impact, contribute to a nuanced exploration of love’s multifarious nature.

The song opens with a notably paradoxical statement: “I may not always love you”. This admission of potential faltering introduces an element of vulnerability that is uncommon in traditional love songs, which often prioritise unwavering devotion from the outset. However, this initial doubt is almost immediately countered by the lines: “But long as there are stars above you / You never need to doubt it / I’ll make you so sure about it”. This rapid transition from doubt to certainty creates an abrupt juxtaposition, which can be interpreted in multiple ways. It might reflect an honest acknowledgement of love’s fragility while simultaneously offering reassurance. Alternatively, the swift negation of the initial doubt could be seen as diminishing the emotional weight of vulnerability, presenting it as a mere rhetorical device rather than a genuine conflict.

This opening tension between uncertainty and assurance sets the tone for the song’s subsequent exploration of emotional dependence. The singer’s hypothetical contemplation of abandonment (“If you should ever leave me / Well, life would still go on, believe me”) introduces a pragmatic stance, recognising the inevitability of life’s continuation despite personal loss. Yet, this rational acceptance is immediately contradicted by the assertion: “The world could show nothing to me / So what good would living do me?” This contradiction mirrors the complex interplay between reason and emotion that characterises human experience. While intellectually acknowledging the persistence of life, the singer simultaneously conveys the existential emptiness wrought by separation from the beloved.

The refrain “God only knows what I’d be without you” functions as a thematic anchor, repeated throughout the song to underscore the profound dependence the singer places upon the loved one. The phrase’s ambiguity (avoiding specification of the singer’s state in the absence of the beloved) invites multiple interpretations, encompassing notions of loss, disorientation or incompleteness. This repetition serves both to emphasise devotion and to reflect the unresolved uncertainty that accompanies deep emotional attachment.

These internal contradictions, rather than detracting from the song’s coherence, serve to articulate the inherent ambivalence and complexity of love. Love is neither monolithic nor static; it encompasses doubt and certainty, hope and despair, rationality and emotionality. The song’s lyrical tensions thus mirror the lived experience of love’s contradictions, lending ‘God Only Knows’ its enduring resonance and emotional authenticity.

The internal contradictions present within ‘God Only Knows’ contribute significantly to its artistic depth. The juxtaposition of doubt and affirmation, pragmatic acceptance and emotional devastation, encapsulates the multifarious nature of human love. This nuanced portrayal transcends simplistic romantic idealisation, offering instead a rich, honest and timeless reflection on love’s profound complexities.

I can’t conclude without mentioning the excellent cover version of the song by Andy Williams, recorded in 1967. This rendition eschews the cheerful and chirpy arrangements of the original Beach Boys recording, replacing them with a concerto-like orchestral arrangement that is more reflective and mournful in mood—qualities that align well with the gravitas of the lyrics. The result is almost hymn-like in its solemnity and reverence.

Why Bad Poems Can Become Great

Having spent over 25 years studying, reading and reviewing poetry, I’ve come to the possibly heretical conclusion that it’s often the reviewer, not the poet, who creates the poem. That is, what we think of as a “great” poem (timeless, resonant, artful) is very often not born great. It’s made great. Not by revision, or hidden “genius”, but by the critic, the reader and the commentator, who view it through the right lens at the right time. Put bluntly: a poem is only as good as the reading it receives.

We tend to regard poems as self-contained artefacts, either well-made or not. But poems are not static artefacts. They are more like catalysts: incomplete until acted upon by a mind. And the mind that matters most, is often not the one that wrote the poem but the one that explains it.

Critics don’t merely assess poems, they construct the scaffolding through which we view them. They decide which ambiguities are “interesting”, which facets are “meaningful” and which prosaic lines are secretly fascinating. And over time, their interpretations become part of the poem’s DNA. The original poet might not acknowledge this, but that doesn’t matter. The poem’s real life begins after it has been written.

Many of the so-called classics of poetry began as publishing failures. Some were dismissed entirely, and others were ignored until a prescient critic found something interesting to say about them. Then all of a sudden, that poetry is rebranded as a work of misunderstood genius. This is because the reviewer “created” a poem where there was once only a text.

In this way, indifferent poems become critically significant simply because a respected reviewer read them in a particular way. And did so with enough style, intellect and confidence that others followed suit. This doesn’t mean the poem itself is irrelevant, but rather that its fate is collaborative. Greatness isn’t built into the lines, but built into the interpretation of them.

Some poems are lucky and find the right interpreter early, while others lie dormant for decades until cultural conditions ripen, and the right critic comes along.

We tend to think of criticism as a secondary act: reactive, not creative. But that is simply not the case. The best reviewers shape the work they comment on. They don’t just describe the poem, they also draw its meaning out of potential and into actuality.

Reviews don’t just evaluate a poem but participate in its creation. They give it a frame, a shape, that makes it recognisable as “art”.