IN THE RIALTOThe purpose of this section of the site is to allow us to showcase or preview poems in our publications. We hope to invite writers of the poems to respond and give their view of the work.
Poetry in the rialto
I admire the way this poem dances between the worlds of the medieval anchoress and the modern urban landscape ( I think this phone box is historically a bit earlier than now, sometime before we all got hold of mobile phones). I like the playful contrasts between the language of ‘epiphany’ and ‘anointed’ and that of the ‘closed off-licence’ and the lack of sex workers ‘cards’…
his is such a rich poem – only sixteen lines but look where it takes you. Maybe I should qualify that and say look where it takes me. What the reader brings to the poem is a significant factor. Anyway I’m right in there at the start with the linen line.
Most people are used to cement being delivered in ready-mix lorries, but it’s possible to mix your own. I spent a certain amount of time staring at cement mixers as a child, so, although one of our readers didn’t get the opening three lines, I got them entirely.
I’m usually wary of poems where the title runs straight into the first line, but this works, enlarging the immediacy of the ‘NOW’, the shock of the event. There’s such a lot going on in this poem (and here’s one of the whys of my liking poetry, its ability to layer so much together in short spaces).
This is an intense poem, much bigger than it looks, very neatly bracketed by its opening, ‘We haven’t spoken for miles’ and closing ‘It’s the talking I miss’. The whole content, the ‘where exactly is this relationship at?’
I’ve been pre-occupied recently with the gap between my experience of poetry and what I perceive (partly through the unwillingness of readers to buy poetry) to be most people’s experience of it.
We have had a few anxious emails asking what exactly we are looking for in entries for this competition, (apart, of course, from poems that reach out and intoxicate the reader). I'm going to try to answer this, but unfortunately, for those of you who like clear and...
It’s taken me ages to find my way with writing, to feel that I was allowed, internally, to get on with it. From there, it’s been a brilliant and slightly terrifying experience to put a first pamphlet together, and I’ve maybe not yet quite caught up with the idea of it...
In your editorial to Rialto 84 you challenged your readers to challenge you and Fiona. Taking you at your word, here’s my challenge.
Your Editorial vaunts the magazine’s eclecticism. What struck me however was not the wide ranging diversity of the poems in this issue…
This is the first of what will hopefully become an ongoing series of guest blogs featuring regularly on The Rialto website.
Education in poetry
During the day, when I’m not
I like the idea of the voice being betwixt and between. Moving from the body out to the world.
I’ve just had the slightly daunting task of trying to find all The Rialto covers from the last 25 years, scattered as they are to the four winds, or
Originally uploaded by Rialto Poetry Magazine
Michael M has procured a few photos from way back in the mid 1980s, when The Rialto first thrust its shoots
‘The Mandate’ by Joel Lane
As the first ripple of the crowd’s laughter
struck the air like a window breaking
to let in a fresh autumn breeze,
Hearts and other organs
I remember a museum of glass bottles,
shelf after shelf rising to the ceiling.
Were the skylights domed?
It began when Helena’s pamphlet collection, Mr and Mrs Philpott on Holiday at Aucherawe & Other Poems, was published by Kettillonia Press (www.kettillonia.co.uk/) in 2001.