Sasha Dugdale

@SashaDugdale

Published by . Poet-in-residence , Russian translator & co-director of . Have boots will walk. Owned by longdogs.

on a train
Vrijeme pridruživanja: svibanj 2010.

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  1. Prikvačeni tweet
    6. lip 2016.

    Essential listening: Ribka Sibhatu's moving poem abt a sinking refugee boat read by @Infinite_Entity

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  2. proslijedio/la je Tweet
    prije 42 minute
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  3. proslijedio/la je Tweet
    prije 4 sata

    Catch some of our favourite Welsh poets in on Feb 20th for our next event! Free, full day of fun:

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  4. prije 4 sata

    In Cambridge.

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    Please all go and then tell us about it. I love poetry read out of country. The magic of place sparks something new. We need reports!

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  6. prije 4 sata

    Finally, for now, Maria Stepanova and Irene Sandomirskaia will be discussing 'Memory' at a public lecture on Thursday 27 February at 5.30pm in the Latimer Room at Clare College. More details here:

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  7. prije 4 sata

    I'll be tweeting about all of these. Here's links to the on 22 Feb where she is reading with J. O. Morgan ; and on 26 Feb where she is discussing Charlotte Salomon with &

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  8. prije 4 sata

    Russian poet Maria Stepanova is visiting the UK & she'll be busy: Sat 22 Feb: poetry Wed 26 Feb: talk on Charlotte Salomon Thurs 27 Feb: talk on Memory Sat 29 Feb: poetry reading Tues 17 March: poetry

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  9. prije 5 sati

    Good morning here's a Bonnard cafe to warm you up on a February day! x

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  10. proslijedio/la je Tweet
    prije 16 sati

    All of us on the Bocas team are sad to hear the news that Kamau Brathwaite passed away earlier today in Barbados, at the age of 89. Poet, scholar, and editor, Brathwaite was a towering figure in Caribbean literature and intellectual life for half a century.

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  11. prije 17 sati

    I won’t even remain as air, shifting refracting sound fading with the light on the river’s ripple sucking the milk and vodka from still-moist lips anyone-without-an-I is permitted a non-i-ppearance wants libert-i Maria Stepanova on Sat 22 Feb

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  12. 4. velj

    A call for submissions from ⁦⁩ for Magma 78 on Collaborations (and translations are collaborative, n’est ce pas?) - send in by 31 March.

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  13. proslijedio/la je Tweet
    3. velj

    Also: much of our access to the outdoors is mediated thru factors like clothing, accommodation, travel, medical care, confidence, amount of leisure time, how safe we feel. Nature-writing often focuses on the individual. But access to the outdoors is shaped by structural factors.

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  14. proslijedio/la je Tweet
    3. velj

    So here are some of the things that I & the network are interested in. A few years ago, I went to buy running shoes. The shop’s walls were covered in shoes, but only 8 pairs were for women. I asked why. (Male) assistant told me women only started running in 1980.

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  15. proslijedio/la je Tweet
    3. velj

    I'm so excited about everything that has got planned! First we're collaborating with for a nature-writing festival in June, THE LOST VOICES, to give prominence to voices that have been sidelined in the genre. Read more & book:

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  16. 4. velj

    Essay ⁦⁩ in ⁦ ⁩ [Good poems] convince you to trust that when their interplay of sound and sense leaves you [...] uncertain, it does so [...] in the desire to unsettle you enough to bring something new into the world.

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  17. proslijedio/la je Tweet
    3. velj

    Vita Andersen's 'The Beautiful Room' from anthology

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  18. proslijedio/la je Tweet
    3. velj
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  19. 3. velj

    At poetry circle tonight we looked at Elaine Kahn's 'Reality Steve', thanks to , and 'The Wild Iris' by Louise Gluck. Great combination – thanks to everyone who attended. It's the high point of my week!

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  20. proslijedio/la je Tweet
    3. velj

    If you like the poem, check out this audio/video version made in collab with the very fab - from our CD If You Put Out Your Hand

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  21. proslijedio/la je Tweet
    3. velj

    Svetlana Alexievich is famous for her polyphonic books. I asked her once whether the long-abandoned Greek chorus is in fact her speaker and she confirmed it. Returning to Brodsky’s Nobel Lecture, I read: “In a real tragedy, it is not the hero who perished; it is the chorus.”

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