Publications

Pamphlets:


Epigraphs
(if p then q, March 2014)

A sequence of 100 epigraphs, each of which could stand in for an individual poem, as well combining to form a single sequence in a hundred voices.

To purchase from the publisher's website: If P Then Q shop 



ANGELA
(Sidekick Books, Autumn 2013)

A collaboration with artist Howard Hardiman which fuses Murder, She Wrote with Twin Peaks in poetry and comics. It asks the question: "What if Angela was the real murderer all along?"  Some more information here.

To purchase from the publisher's website:
www.drfulminare.com/angela.php
 


Flying into the Bear
(HappenStance, April 2013)

"the most energetic, delightful collection you will read this year" TLS

A poetry pamphlet shortlisted for the Michael Marks Awards in 2013. You can read some sample poems and reviews by clicking here.

To purchase from the publisher's website SOLD OUT!:
http://www.happenstancepress.com/index...


murder she wrote
(p.o.w., April 2012)

"a gift of layering the serious and preposterous" Chris McCabe

A concrete poetry broadside which unfolds to poster size, part of the p.o.w. series published by Antonio Claudio Carvalho, inspired by Hansjorg Mayer's futura series from the 1960s.

You'll find some more information here.


The Jam Trap
(Soaring Penguin, February 2012)

"unusual and refreshing" Mslexia

24 prose poems illustrated by a variety of comics artists. A domestic setting for magical realism, only without the magic. More info here.

To purchase from the publisher's website:
http://www.soaringpenguinpress.com/...


The Jam Trap 
(Silkworms Inc, 2010)

An online chapbook containing 10 poems which form the basis of what went on to become the full Jam Trap pamphlet.

To read on the publisher's website:
http://www.silkwormsink.com/v1/chapbook_19.html




Essays:

16 Bears: Chrissy Williams on Chrissy Williams
The Rialto no. 78 (Autumn 2013)
From the introduction:

BEARS! Charging down the hill at full speed, joyfully haired and honeyed! Bears, bears, bears flooding everywhere, with every complication of life written into them! Easy, isn't it? Words are easy to type. But listen now, listen if you will, this is what the bears have to say:

BEAR THE FIRST
I remember nursery rhymes and children's songs, and books where the words were written big. Words were big because they were important.

BEAR THE SECOND
I am half-Italian. My mother is Italian but I was brought up in England. My first words were in Italian, although they were quickly beaten out of me, metaphorically, by Scottish/Welsh grandparents. Lots of the nursery rhymes which have stuck with me are Italian ones.

    Ma che bello il pappagallo
    Tutto verde e l’occhio giallo
    Cosa fai? Cosa vuoi?
    Parli, parli, parli, parli...


Words were for singing along to, for recitation, for enjoying: a way of hearing music even when there was no music playing...


On Chris McCabe's THE RESTRUCTURE 
Tears in the Fence no. 57 (Summer 2013)
From the introduction:

"Look, Chris, look — I’m reviewing your book! I’ve already told them they can’t trust me, that I’ll be hideously biased, seeing as we work together at the Poetry Library and spend far too much time out drinking together, talking rubbish, poems, things, but here we are. I’m not afraid to rave about your wonderful book. I just wish I could do it independently of our friendship..."


From Page to Stage
Poetry Review (Autumn 2012)
From the introduction:

“Risk. Audiences love it. Audiences don’t know the rules. Because there aren’t any.”
– Poet Hannah Silva on writing for theatre

"Poetry is migrating into performative territory – the theatre. This may seem like a natural progression, or regression, considering poetry’s roots in an oral tradition stretching back millennia. And yet poetry in the theatre is often still perceived as novelty, as a watering down of text, as adding a layer of artifice to something which should be connected with the eye, in  silence, in privacy. These assumptions lack insight into the innovative ways in which poets are taking their words to the stage, and the intensity with which poetries may be experienced in a totally different form..."


Antigonick — what the hell it is and why it matters
Hand + Star (Summer 2012)
From the introduction:

"Questions, questions, so many questions. "Why is Antigone a horse?" is one, but we'll get to that.   Not only is Antigonick the first of Anne Carson's translations to combine text with visual elements   but — described variously as poetry, as a comic-book, a play text, translation, artists' book, objet   d’art — it's also the first of her books to vault more genre boundaries than a literary showjumper..."


Some Thoughts About Poetry and Comics
The Rialto website (Spring 2012)
From the introduction:

"economy of line is paramount 

Comics are at their most successful when the maximum effect is produced by every line and unnecessary lines are eliminated. This is an artistic choice distinct to the employment of a naive or simplistic style..."

Read the full piece here.  


Ways of Seeing Dancing Chickens: on Robert Frost and The Muppet Show
Anon issue 8 (Autumn 2011)
From the introduction:

"How a classic Muppets sketch from the 70s poses very contemporary questions about how popular culture approaches poetry.  

Snow falls. A horse-drawn sleigh pulls into a wintery scene. Fozzie Bear clears his throat and begins a  dramatic recital of Robert Frost’s ‘Stopping by Woods on a Snowy Evening’:

     Whose woods these are I think I know.
     His house is in the village though;

He enunciates with the deliberate devotion of a six- year-old child, until Gonzo bursts onstage with a catchy tango, a colourful sombrero and a troupe of dancing chickens. He shouts:

     Olé!
     Arriba!
     Enchilada!

and the Frostian idyll is overrun. After several interruptions Fozzie submits, dons his own sombrero and ends by singing the poem in time to the music. It’s a simple and delightful Muppet Show sketch that needs no explication, and yet a few straightforward questions such as “Why this poem?”, “Why this song?” or  “Why chickens?” point to an insightful enquiry into how poetry should be presented to modern television audiences. Best of all, Gonzo’s seemingly random stage invasion turns out to be based on a true story about Robert Frost..."

Full article can be found by clicking here.


Model Publisher or Pirate? R. A. Caton and the Fortune Press
Hand + Star (October 2010) Archived page here.
From the introduction:

"R. A. Caton's legacy is ambiguous at best. He published the debuts of Philip Larkin, Kingsley Amis and Cecil Day Lewis as well as books by Dylan Thomas, Ted Hughes, Sylvia Plath and many others. Some of the editions published by the Fortune Press between 1924 and 1971 can fetch upwards of £5,000 today and Caton himself, an independent book publisher who generally worked alone, died an exceedingly rich man. On the other hand he also dabbled in exploitative vanity publishing, was found guilty of obscenity following a criminal trial and had a general aversion to paying his writers (most notably Larkin and Amis). Is it possible to reconcile the more dynamic elements of Caton's list with these failings, or are the Fortune Press's achievements irreparably tainted by the roguish publisher himself?"


Anthologies:

Poem in the next Split Screen anthology in Summer 2014
Essay in Mount due May 2014 from Penned in the Margins
Coin Opera 2 (Sidekick Books, 2013)
Stop/Sharpening/Your/Knives (5) (Egg Box, 2013)
Modern Poets on Viking Poetry (University of Cambridge, 2013)
Birdbook 2 (Sidekick Books, 2012)
Sci-Fi Poetry anthology Where Rockets Burn Through (Penned in the Margins, 2012)
Adventures in  Form (Penned in the Margins, 2012)
Oxfam Book of Young British Poets (Cinnamon Press, 2011)
Best British Poetry 2011 (Salt Publishing, 2011)
Herbarium 2011, anthology of poems for Urban Physic Garden
Starry Rhymes: 85 Years of Allen Ginsberg
2011, anthology
Birdbook 1: Towns, Parks, Gardens & Woodland (Sidekick Books, 2011)
Stop Sharpening Your Knives (4) (Egg Box Publishing, 2011)
The Shuffle Anthology 2010-2011
Korsakoff's Paper Chain (Sidekick Books, 2010)
Obakarama (Sidekick Books, 2009)
Coin Opera (Sidekick Books, 2009)


Magazines

The Rialto in Autumn 2013
Poetry London in Summer 2013
Poems in Which issue 3 in June 2013
The Scotsman 18th May 2013
Long Poem Magazine issue 9 in May 2013
Tears in the Fence no. 56 (January 2013)
The Rialto in Spring 2012
Under the Radar late 2011/early 2012
Fuselit Contraption issue (Sidekick Books)
Rising issue 53, edited by Tim Wells
Horizon Review issue 5, edited by Katy Evans-Bush
The Rialto issue 69, edited by Michael Mackmin (featured in Nathan Hamilton's "Young Poets" feature)
South Bank Poetry issue 7 edited by Peter Ebsworth
Rising issue 50, edited by Tim Wells 
Eyewear Todd Swift blog
Fuselit "Mars" issue edited by Jon Stone and Kirsten Irving
The Rialto issue 53, edited by Michael Mackmin  
The Quiet Feather edited by Taissa Csáky, Dominic Hall and Tim Major 
Orphan Leaf Review edited by James Paul Wallis 
Eclipse edited by Elizabeth Boyd 
Dial 174 edited by Joseph Hemmings


Poetry and Comics Collaborative Anthologies:

Four anthologies of experiments created by our informal poetry and comics workshop group. Click on the covers to read each issue in Issuu.

  


http://issuu.com/chrissywilliams/docs/pc4_jan2014


There is a poetry and comics online scrapbook here.