Disko Bay shortlisted...

I'm delighted that Disko Bay has been shortlisted for the Felix Dennis Prize for Best First Collection.

The Forward Prizes were set up in 1992, and have been celebrating excellence in poetry ever since. It's an honour to see Disko Bay on this year's shortlist alongside poems and collections by writers I have admired since I started writing myself. A few names on the shortlist are new to me - but not for long, as I bought up all the available titles (some have not yet been published) in Blackwells this afternoon.

The Guardian has a good survey of the shortlist. It reports William Seighart, founder of the Forward Prizes, saying: 'What we think of as English is expanding all the time - and these poets are on the frontline of change, making homes for new words and dialects, contributing their acuteness of expression, their powers of noticing, to the endless redrafting of the language.' 

The award ceremony (billed as 'the poetry event of the year') is on 20 September 2016 at the Royal Festival Hall, London. Tickets available here.

New book: Bill Jacklin Graphics

British artist Bill Jacklin RA is known for his 'urban portraits' of cities from Venice to Hong Kong, and of course New York - his home since the 1980s. This summer the artist returns to the city of his birth with an exhibition of paintings currently on show at Marlborough Fine Art in London. Meanwhile a retrospective at the Royal Academy (opens 3 June), charts Jacklin's printmaking career from the ground-breaking etchings of the 1960s to the dynamic monotypes of recent years. 

Bill Jacklin: Graphics, a new and authoritative collection of the artist's prints with an introduction by Jill Lloyd and an essay from me, is published by the Royal Academy to accompany the latter exhibition. 

On Saturday 4 June Bill Jacklin will discuss the ideas and techniques behind his work with me at an event organised by the Royal Academy. 

Photo of Bill Jacklin in his studio by Chris Craymer. See more of the shoot in Vanity Fair.

"How To Say 'I Love You' In Greenlandic" News

'A book that is not only beautiful but full of joy, love and quiet intensity.' 

- Oliver Clark, Collinge and Clark Rare Books, London

I'm delighted to announce that How To Say 'I Love You' In Greenlandic: An Arctic Alphabet is being reissued by MIEL books. This reformatted and updated version of MIEL's popular pocket edition (first published 2014) will be available in October.

Want to read more? Here's a blog post on ice and alphabets written for MIEL back when the first pocket edition came out. Or an in-depth feature article on the people behind my story, published in the Independent. And Saradha Soobrayen, poet and librarian at the Poetry Library in London, reviews the first MIEL edition here.

MIEL's first edition of How To Say 'I Love You' In Greenlandic sold out quickly; guarantee your copy and support this amazing small press with a 2016 subscription. Can't wait until October? There are still copies of the original deluxe edition available.

World Book Night 2016 : The Handmaid's Tale

We were the people who were not in the papers. We lived in the blank white spaces at the edges of print. It gave us more freedom. We lived in the gaps between the stories.

The United Artists assembled in the Grand Ballroom of the White Swan Hotel, Halifax on 23 April for the annual World Book Night event. This year The Handmaid's Tale by Margaret Atwood was selected by artist, performer and writer John Bently. The 16 artists present created Serena Joy, a portfolio of miniprints responding to the text, from rubber stamps contributed by 43 international artists. We were lucky to have rubber stamp authority Stephen Fowler in attendance. After a hard day at the inkpads, a musical sermon by John Bently and the Eyes brought events to a close.

Pleasure is an egg. Rubber stamp by Corinne Welch, printed by Mette-Sofie D. Ambeck 

All Flesh. Rubber stamp by Jane Cradock-Watson, printed by Angela Butler

Serena Joy: the final set, complete with gilded box. 

Photo: Sarah Bodman

You can see all the finished prints and read a full list of contributors on the UWE Book Arts website, where there is also a link to John Bently's impassioned rendition of 'Amazing Grace' and other delights. Many thanks to Sarah Bodman who assembled this digital record, as well as coordinating the event and curating the Serena Joy portfolio.

If it's a story I'm telling, then I have control over the ending... But if it's a story, even in my head, I must be telling it to someone. You don't tell a story only to yourself. There's always someone else. Even when there is no one.

The Flaw

The Flaw is the April exhibition over at Fabelist, an online exhibition space curated by writer and art director Francesca Goodman.

The project arose from my study of the paintings of Emanuel A Pedersen in the collection of Ilulissat Kunstmuseum during a residency last summer. 'Flaw' was a term once used by whalers to describe the outer edge of the landfast ice; its relevance to Pedersen's work will be immediately apparent to viewers.

Also online, last week I was interviewed for The Herring's Tale, a new blog by journalist Bibi Christensen which sets out to explore Danish culture 'with a London twist'.

Spring reading: art writing

• an essay on the work of Yael Brotman in Scaffolding, the catalogue accompanying the artist's exhibition at Loop Gallery, Toronto
• a review of Nikolai Astrup: Painting Norway at the Dulwich Picture Gallery, in the Times Literary Supplement
• a review of The Power of Paper: 50 Years of Printmaking in Australia, Canada and South Africa at the Museum of Archaeology & Anthropology, Cambridge (catalogue edited by Nicholas Thomas) in Printmaking Today
• I interviewed artist John Abell on his dramatic woodcuts created as part of a residency at Castell Coch, Wales, also for Printmaking Today (see below)

New book: Death of a Foster Son

I'm pleased to announce the publication of Death of a Foster Son, an investigation into the eerie correspondences between polar bears and their human counterparts. The essay, first published in Zoomorphic magazine last year, is now available as a limited edition pamphlet, hand-sewn and numbered. The design - in which close readers will notice clues to the narrative - is by Roni Gross.

Death of a Foster Son explores the uncanny point at which the lives of bears and humans meet. The text merges two Arctic stories: a contemporary encounter with a polar bear in Upernavik, Greenland, and a traditional Inuit folk tale 'The old woman who had a polar bear for a foster son'. The illustrations, cyanotype collages created during a residency at Ilulissat Kunstmuseum in Greenland, are based on traditional catch-share diagrams and clothing patterns.

More information and available to order here.

Photographs: Peter Abrahams / Lucid Plane