Undraining Sea

<i>Undraining Sea</i> engages with ideas of time and of the city, the built and the unbuilt. The first section takes the form of a calendar and interrogates the human experience of time. It engages with a number of other texts, notably by Hesiod. The second section interrogates the human experience of place, via immersive poems inspired by the layered recollection of places (Oslo, Port of Spain, Florence, London). This section engages with William Carlos Williams's _Paterson_. The final section obliquely offers a resolution by way of personal lyric and song; a lightening of memory and experience into transmissible, aesthetic form

Reading Aloud in Britain Today (RABiT): Discussion, reflection and next steps with a focus on poetry

Reading Aloud in Britain Today (RABiT) is a two-year project researching whether, what, where, how and why adults read aloud. Findings so far tell us that most adults read something out loud (and listen to others reading) at least sometimes. Very few people never do this. What we read aloud is diverse, including newspapers, social media, books, religious texts, graffiti, recipes, poems, instructions, posters, children’s books and crossword clues. Our reasons are equally diverse, including to share, entertain, inform, help, be together, worship, enjoy, memorize, learn, understand and write. Some people read to other adults, some to children, some to pets and some people read aloud when completely alone. Some of this reading we notice; some we may do regularly but rarely notice. Some people read out loud in different languages, including languages we may not use in conversation with others. Forms of reading aloud are important in many workplaces, as well as within family and community relationships, for learning and as part of religious practice

The lure of postwar London:networks of people, print and organisations

Partly due to their British colonial education, many writers were lured to the postwar metropolis to find publishers and a wider audience for their work. This chapter discusses the contradictory stances of the publishing industry in the 1950s and 1960s. It traces the interactions between editors, audiences, and other cultural networks that made London an international publishing capital for ʼnew’ Commonwealth authors (as they were then known). It was in London that Amos Tutuola or Wilson Harris were first noticed by Faber and Faber, and Sam Selvon’s A Brighter Sun (1952) or George Lamming’s In the Castle of My Skin (1953) first appeared. This interest soon waned, however, as issues of race, nation, and identity began to dominate, and sharp divisions were apparent, partially due to the myopia of some publishers and the parochial reception of some critics. The chapter also points forwards to the social and political contexts which provoked the vital growth of smaller and more radical publishing houses such as New Beacon (1966) in the 1970s and 1980s.</p

Predicting major bleeding in patients with noncardioembolic stroke on antiplatelets

Objective: To develop and externally validate a prediction model for major bleeding in patients with a TIA or ischemic stroke on antiplatelet agents. Methods: We combined individual patient data from 6 randomized clinical trials (CAPRIE, ESPS-2, MATCH, CHARISMA, ESPRIT, and PRoFESS) investigating antiplatelet therapy after TIA or ischemic stroke. Cox regression analyses stratified by trial were performed to study the association between predictors and major bleeding. A risk prediction model was derived and validated in the PERFORM trial. Performance was assessed with the c statistic and calibration plots. Results: Major bleeding occurred in 1,530 of the 43,112 patients during 94,833 person-years of follow-up. The observed 3-year risk of major bleeding was 4.6% (95% confidence interval [CI] 4.4%–4.9%). Predictors were male sex, smoking, type of antiplatelet agents (aspirin-clopidogrel), outcome on modified Rankin Scale ≥3, prior stroke, high blood pressure, lower body mass index, elderly, Asian ethnicity, and diabetes (S2TOP-BLEED). The S2TOP-BLEED score had a c statistic of 0.63 (95% CI 0.60–0.64) and showed good calibration in the development data. Major bleeding risk ranged from 2% in patients aged 45–54 years without additional risk factors to more than 10% in patients aged 75–84 years with multiple risk factors. In external validation, the model had a c statistic of 0.61 (95% CI 0.59–0.63) and slightly underestimated major bleeding risk. Conclusions: The S2TOP-BLEED score can be used to estimate 3-year major bleeding risk in patients with a TIA or ischemic stroke who use antiplatelet agents, based on readily available characteristics. The discriminatory performance may be improved by identifying stronger predictors of major bleeding

Forging connections: anthologies, arts collectives, and the politics of inclusion

The changing social and political landscape of twentieth-century Britain catalysed a remarkable rise in collaborative activity by artists and activists of black and Asian heritage. Creative communities began to gather in both local and regional contexts, with the aim of sharing resources and securing an audience. This chapter records some of these many activities, tracing the groups’ genesis, manifest objectives, and key contributions. It argues that anthologising should be understood as a specifically motivated activity. Literary anthologies of poetry and fiction served to showcase the diversity of contemporary writing, while also suggesting its coherence. Drawing on the concept of “strategic essentialism” elucidated by Gayatri Chakravorty Spivak, I show that the anthology acts to ensure the visibility of a group, bannered as a unified and singly-titled selection of texts, while also insisting on the differences within: the heterogeneous multiplicity of black and Asian British experiences and creative practices

'Vernacular Voices: Black British Poetry'

ABSTRACT Black British poetry is the province of experimenting with voice and recording rhythms beyond the iambic pentameter. Not only in performance poetry and through the spoken word, but also on the page, black British poetry constitutes and preserves a sound archive of distinct linguistic varieties. In Slave Song (1984) and Coolie Odyssey (1988), David Dabydeen employs a form of Guyanese Creole in order to linguistically render and thus commemorate the experience of slaves and indentured labourers, respectively, with the earlier collection providing annotated translations into Standard English. James Berry, Louise Bennett, and Valerie Bloom adapt Jamaican Patois to celebrate Jamaican folk culture and at times to represent and record experiences and linguistic interactions in the postcolonial metropolis. Grace Nichols and John Agard use modified forms of Guyanese Creole, with Nichols frequently constructing gendered voices whilst Agard often celebrates linguistic playfulness. The borders between linguistic varieties are by no means absolute or static, as the emergence and marked growth of ‘London Jamaican’ (Mark Sebba) indicates. Asian British writer Daljit Nagra takes liberties with English for different reasons. Rather than having recourse to established Creole languages, and blending them with Standard English, his heteroglot poems frequently emulate ‘Punglish’, the English of migrants whose first language is Punjabi. Whilst it is the language prestige of London Jamaican that has been significantly enhanced since the 1990s, a fact not only confirmed by linguistic research but also by its transethnic uses both in the streets and on the page, Nagra’s substantial success and the mainstream attention he receives also indicate the clout of vernacular voices in poetry. They have the potential to connect with oral traditions and cultural memories, to record linguistic varieties, and to endow ‘street cred’ to authors and texts. In this chapter, these double-voiced poetic languages are also read as signs of resistance against residual monologic ideologies of Englishness. © Book proposal (02/2016): The Cambridge History of Black and Asian British Writing p. 27 of 4