I suppose I’m another one of those poorly ironed white collars that got halfway up the career ladder and realised it had left something behind. For me, that ‘left behind’ was writing which I returned to at the end of 2012 after a long time focused on other things.

I have been published precisely nowhere (except my own blog), performed only in small rooms, the sum total of my awards list is two jars of jam (and now a Speedpoets call-back) and yet I have felt so welcomed by the warmth, the energy and the lunacy of the Brisbane spoken word community that… well… what more could a fella want?

The writing thing… I’m interested by the sublime and the ordinary in the colliding territories of landscape, the body, and the whole human mess.

The performing thing…a good friend said this…”While Simon’s forays into performance poetry may be humble so far, he has an open, gentle performance style, a generous grasp of human emotion, and a willingness to carefully peel back the seemingly ordinary to reveal what lies underneath.”

6 thoughts on “About”

  1. Dear Simon I heard you read at Speedpoets and was content that you not I got the gong. I have just read a handful of your poems here. I am afraid, afraid that you are the real thing. You have lyrical gift.

    Your poems for your child affected me a lot. I have been likewise moved:

    Song for November

    A man should study poetry in his youth
    Nurture it then and feed it as he grows
    On love and lovely looks, take care
    To repair and prepare his heart
    With dreams, and seems and scenarios
    And every now a blurred blue rose
    Lest one day what can’t be said but must be sung
    Flummox him and leave him dumb
    And that’s no way to greet your first-born young.

    Michael O’Neill
    (for Graham, Poet Pope and his heir unapparent as yet, for his birth day)

    Michael O’Neill

  2. Hello Simon,
    I have an online publication that specializes in honest conversation and connecting artists of many genres. My husband and I run this publication, the Glory Tree Herald. It is about to undergo some serious construction over the next month (becoming gender neutral with a brand new vision and stocked with articles) and we would like to interview you for an article if you would be available. The interviews are conducted live through Skype, chat, or text. We can arrange an e-mail interview, but the “live” quality allows us to respond to your answers directly. We would like to interview you as a poet, and include a sample of your work. If you are interested, please let us know. What we currently have is at glorytreeflowers.wordpress.com (soon to be GloryTreeHerald.com)We are looking to feature a poet in late August, early September.

    Reagan K Reynolds

    1. Thanks for the link Reagan! I like this one a lot:

      She blew kisses off her palm and I made a fist in the air, as if I had caught them, because I believed in invisible things.

      Trying to corral work into genres is always a tricky thing isn’t it! I think that you could certainly call tweetstories a form of microfiction if you wanted. But equally there would be an argument that they are a genre of their own. To me microfiction is characterised simply as work having a basic narrative structure, some degree of characterisation, an emphasis on language used aesthetically rather than for expository purposes and having one foot in the poetic. To me, your tweetstories tick all those boxes. I think the 140 characters aspect is a structural ‘boundary’ that would make tweetstories a separate (sub?)genre within microfiction in the same way that haiku is a subgenre of the huge mess of poetry. Hmm… this is getting interesting… How do you see the defining feature of the tweetstory as a genre? Is it just 140 characters or are there other structural or aesthetic elements that seem to feature? I think what I like about the example above is that there is a sequence of descriptive phrases and then the final phrase is more abstract or reflective. Is that a structural feature?

      1. Possibly. The structural boundary of 140 characters has changed the use of punctuation and quotations. Sometimes, they are completely omitted. I have been observing other writers of tweet stories and have found this to be the case for them as well.
        I think genres can be silly sometimes, but I love analyzing forms. I think tweet stories as a sub-category of microfiction is a pretty good place to put them. So they are a sub- sub- category of fiction?
        Whew. Complicated.

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