{"id":10297,"date":"2021-11-01T10:23:05","date_gmt":"2021-11-01T10:23:05","guid":{"rendered":"https:\/\/www.therialto.co.uk\/pages\/?p=10297"},"modified":"2025-02-03T12:02:30","modified_gmt":"2025-02-03T12:02:30","slug":"the-rialto-issue-98-editor-edward-doegar","status":"publish","type":"post","link":"https:\/\/www.therialto.co.uk\/pages\/2021\/11\/01\/the-rialto-issue-98-editor-edward-doegar\/","title":{"rendered":"The Rialto Issue 98, Editor Edward Doegar"},"content":{"rendered":"

The next issue will be edited by Edward Doegar. This is the third part of our current grant project which has seen our Assistant Editors taking charge and has so far produced Degna Stone\u2019s <\/a><\/span>The Rialto <\/span><\/em>96<\/em>, and Rishi Dastidar\u2019s commissioned pamphlet, <\/span>The Sea Turned Thick as Honey <\/em><\/span><\/a>by Holly Singlehurst.<\/span><\/p>\n

All poets are welcome to send work to be considered by Edward, but please read what he has written about the forthcoming issue before you do so. You can submit poems either via Submittable<\/a> or by post to The Rialto c\/o 74 Britannia Road, Norwich, NR1 4HS. Please mark the envelope clearly \u2018FAO Edward Doegar\u2019, and include your email for his reply. If you don\u2019t have email please include an SSAE.<\/span><\/p>\n

\u2018Issue 98 will be loosely themed around the notion of \u2018common ground\u2019. The process of editing a magazine \u2013 selecting and arranging it \u2013 always involves the artificial creation of common ground. The poems are made to exist in some sort of cooperation and so, in a sense, the theme is unavoidably always there. At <\/span>The Rialto<\/span><\/em>, we make an effort to typeset the poems so that they are given ample space to breathe \u2013 room to exist on their own terms \u2013 but they are also, necessarily, related to the works around them. In a print magazine like <\/span>The Rialto <\/span><\/em>this is even more significant, I think, than it would be for work appearing online. And so, we\u2019re caught in a contradiction: even as we try to let the poems speak for themselves, we knowingly curate their company with others. In my reading for this issue, I\u2019d love to receive submissions from poets whose work I find it difficult to place, whose poems aren\u2019t reducible to a single literary school \/ tradition \/ trend.<\/span><\/p>\n

I\u2019d also enjoy reading poems that tackled the theme in their subject matter, whether directly or indirectly. I\u2019ll be excited to read work that says something about what it means for us to try and exist together <\/span>now<\/span><\/em>. I don\u2019t mean that the poems need to respond to current events, per se, but I\u2019m keen to read work that couldn\u2019t have been written thirty years ago. Living in London through the pandemic, I rediscovered how precious our literal common grounds are \u2013 how vital parks and rights of access are. In contrast, I\u2019d welcome poems that tackle what it means to live through a screen. The act of translation is itself a living negotiation of the potential for common ground between languages and I would like to encourage as many submissions of translated poetry as possible.<\/span><\/p>\n

Of course, more than anything else I want to read poems that surprise me and then surprise again.\u2019<\/span><\/p>\n

Edward Doegar\u00a0<\/span><\/em><\/p>\n

 <\/p>\n

Image: March Hare’s Garden. Scene Design for Alice in Wonderland, William Penhallow, 1915.
\n<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

The next issue will be edited by Edward Doegar. This is the third part of our current grant project which has seen our Assistant Editors taking charge and has so far produced Degna Stone\u2019s The Rialto 96, and Rishi Dastidar\u2019s commissioned pamphlet, The Sea Turned Thick as Honey by Holly Singlehurst. All poets are welcome […]<\/p>\n","protected":false},"author":6,"featured_media":10298,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[5],"tags":[],"class_list":["post-10297","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blogs"],"_links":{"self":[{"href":"https:\/\/www.therialto.co.uk\/pages\/wp-json\/wp\/v2\/posts\/10297","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.therialto.co.uk\/pages\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.therialto.co.uk\/pages\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.therialto.co.uk\/pages\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/www.therialto.co.uk\/pages\/wp-json\/wp\/v2\/comments?post=10297"}],"version-history":[{"count":6,"href":"https:\/\/www.therialto.co.uk\/pages\/wp-json\/wp\/v2\/posts\/10297\/revisions"}],"predecessor-version":[{"id":10540,"href":"https:\/\/www.therialto.co.uk\/pages\/wp-json\/wp\/v2\/posts\/10297\/revisions\/10540"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.therialto.co.uk\/pages\/wp-json\/wp\/v2\/media\/10298"}],"wp:attachment":[{"href":"https:\/\/www.therialto.co.uk\/pages\/wp-json\/wp\/v2\/media?parent=10297"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.therialto.co.uk\/pages\/wp-json\/wp\/v2\/categories?post=10297"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.therialto.co.uk\/pages\/wp-json\/wp\/v2\/tags?post=10297"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}