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'In this new collection, Owen Bullock asks 'what constitutes work for someone who must play in order to create?' It's a question addressed through formal contrast, aural unpredictability, and a genuine immersion of all the senses.
'Bullock combines prose and lineated poems with his love of language play, poems found in the fat air of conversation, and the contrasts that memory and experience conjure. With this is a genuine love of whimsy pushed to the absurd, and pushed again into poigniancy.' (Publication summary)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Serious Fun
2018
single work
review
— Appears in: TEXT : Journal of Writing and Writing Courses , October vol. 22 no. 2 2018;
— Review of Work and Play 2017 selected work poetry prose'The term ‘prose poetry’ would seem to be an oxymoron, yet the form has been around a long time. Perhaps most notably, Baudelaire’s Petits Poèmes en Prose (1869) set the form firmly in the modernist poet’s range of technical options for exploring language and what it can do. In general, line breaks matter in poetry, and lines comprise the most obvious compositional or structural units of poems. Indeed, for most traditional forms of English poetry, rhyme and meter are inextricably linked to lines, as in iambic pentameters, for example. In free verse, line breaks structure language in ways that can enhance, replace, or even run counter to an underlying framework of grammar and punctuation. Line breaks obviously affect the appearance of a poem on the page and they can strongly influence how a poem is read aloud.' (Introduction)
-
Serious Fun
2018
single work
review
— Appears in: TEXT : Journal of Writing and Writing Courses , October vol. 22 no. 2 2018;
— Review of Work and Play 2017 selected work poetry prose'The term ‘prose poetry’ would seem to be an oxymoron, yet the form has been around a long time. Perhaps most notably, Baudelaire’s Petits Poèmes en Prose (1869) set the form firmly in the modernist poet’s range of technical options for exploring language and what it can do. In general, line breaks matter in poetry, and lines comprise the most obvious compositional or structural units of poems. Indeed, for most traditional forms of English poetry, rhyme and meter are inextricably linked to lines, as in iambic pentameters, for example. In free verse, line breaks structure language in ways that can enhance, replace, or even run counter to an underlying framework of grammar and punctuation. Line breaks obviously affect the appearance of a poem on the page and they can strongly influence how a poem is read aloud.' (Introduction)
