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... he early nineties mainstream stance is evident in the output of presses like Carcanet and Bloodaxe and is gathered in the controversial Michael Hulse (1955 -), David Kennedy (1959 -) and David Morley (1964 -) anthology The New Poetry (1993). Controversial, perhaps, because of its diversity. The anthology has no central thrust other than its multiplicity. The New Poetry does not, however, contain many examples of Britain's performance poetry. During the past fifteen odd years verse has found an increasingly welcome home on the stage of clubs, pubs and bars.
Poetry delivered as entertainment, loud, in your face and, like much of the rest of our media, instantly appreciable has turned verse from an arcane art into a truly popular one. Building on the strong lead given by the Liverpool poets and their followers in the seventies John Cooper Clarke (1950 -), Attila the Stockbroker (1957 -), John Helen (1953 -), and others have increased public consumption of poetry on a geometric scale. Their work is dynamic, politically apposite and often delivered with considerable humour. Rarely, however, does it also succeed on the page. The post-colonial cultures of recently politically-devolved Scotland, Northern Ireland and Wales has seen poetry in those countries boom. In Scotland the influence of Hugh MacDiarmid, has been strong.
Robert Garioch (1909 - 1980), George MacKay Brown (1921 - 1996), Norman MacCaig (1910 -), Liz Locked (1947 -) and others have seen their poetry find acceptance beyond their borders. The same has happened throughout the troubles in Northern Ireland with the work of Paul Muldoon (1951 -), Derek Mahon (1941 -), Michael Longley (1939 -), Tom Paulin and others emerging brilliantly alongside the towering presence of Seamus Heaney. In Wales the dominant force, outside her borders, of R. S. Thomas has been followed by those of Gillian Clarke (1937 -), Nigel Jenkins (1946 -), Media Ellen (1951 -), Gwyneth Lewis (1959 -), Robert Minhinnick (1952 -), Tony Curtis (1946 -), and, more recently, Owen Sheers (1974 -). Only in Scotland have their been significant formal innovators (Tom Leonard, W.
N Herbert (1961 -) ). Wales and Northern Ireland (with the exception of Paul Muldoon) steer more traditional courses. By the turn of the millennium poetry in Britain had reached a multi-faceted stand-off. Despite the work of editors like Simon Armitage and Robert Crawford (1959 -) who have made brave attempts at uniting post-modern, post-Christian, post-war, post-Hiroshima, post-structuralist, post-devolution petrie under one pluralistic banner the many gleaming and disparate parts of British poetry do not like making a coherent whole. In Northern Ireland, Scotland and Wales the literatures no longer find themselves overshadowed by an English big brother. The sound coming in from the centre can and is increasingly ignored.
The argument between form and content remains as strong as ever. It has been raging for a hundred years and there are no winners yet. The counter-culture may have changed name and altered its emphasis (from lifestyle to free-form experiment and back) but it remains as strong and has as many adherents as ever. They may is no British L = A = N = G = U = A = G = E poetry but there are plenty of fellow travellers. The line which runs up from Thomas Hardy (1840 - 1928), through D.
H. Lawrence (1885 - 1930), Philip Larkin, Sir John Betjeman (1906 - 1984), Douglas Dunn, Andrew Motion, and Simon Armitage continues, although is no longer quite a central as it once was. Minority writing (ethnic, genre, sexual orientation) has as many proponents and fans as pop writing did in the seventies. There are poets who are not just poets and have established themselves as multi faceted artists. This accounts for the influence of some many other disciplines in poetry. One such example would be Toni Harrison.
He is a leading film and theatre poet. Apart from that he has also written for commercials singers as well. He has written for the National Theatre in London, the New York Metropolitan Opera and for the BBC and Channel 4 television. He was born in Leeds, England in 1937 and was educated at Leeds Grammar School and Leeds University, where he read Classics and took a diploma in Linguistics. He became the first Northern Arts Literary Fellow (1967 - 8), a post that he held again in 1976 - 7, and he was resident dramatist at the National Theatre (1977 - 8). His work there included adaptations of More's The Misanthrope and Racine's Phaedra Britannica.
His first collection of poems, The Lines (1970), was awarded the Geoffrey Faber Memorial Prize in 1972, and his acclaimed version of Aeschylus's The Oresteia (1981) won him the first European Poetry Translation Prize in 1983. The The Gaze of the Gorgon (1992) won the Whitbread Poetry Award. In 1995 he was commissioned by The Guardian newspaper to visit Bosnia and write poems about the war. His most recent collection of poetry is Under the Clock (2005). In his poem The Truth from this collection he has produced a voice that shows the taints of various notions regarding war of the different people living in England. Clearly enough even in todays world with all the mad arms race and the bug of political supremacy in the global village scenario, the hatred for war goes very strong.
It goes like this, Let's make this world a better place to live Stop to take, stop to give Love's get a power to get it done To stop the pain of a killing gun Another resounding voice in the contemporary scene is of Brian Patten he is one of the representative poets of the group known as the Liverpool poets. The work of 'The Liverpool poets' was written to be read aloud in public, and although the poets have now developed separately, their literary outlook is still characterized by their common commitment to reviving poetry as a performance. Coming back to Patten we find that Patten's poetry achieves its effect through feelings, and this is what distinguishes him from the other two 'Liverpool poets'. According to Linda Cookson, Patten's poetry complements that of Henri and McGough, but there is an essential difference between them in that Patten's humour is of an entirely different character from the verbal gymnastics of Henri and McGough, and is subordinated almost always to an underlying seriousness of purpose. Notably Pattens poems herald the fact that there is a shift among t...
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