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In memory of Michael Horovitz
A unique poet, cultural organiser, editor, visual artist, translator and mentor
SIMON PARSONS is gripped by a psychological thriller that questions the the power of the state over vulnerable individuals
KEN COCKBURN assesses the art of Ian Hamilton Finlay for the experience of warfare it incited and represents
The bard gives us advance notice of his upcoming medieval K-pop releases
GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative
HENRY BELL takes issue with the assertion that basic income is a remedy for poverty when it doesn’t address the inbuilt inequality of capitalism
RON JACOBS welcomes an investigation of the murders of US leftist activists that tells the story of a solidarity movement in Chile
ON JULY 7, yet another cultural comrade of mine left this Earth at the age of 86 — the pioneering performance poet and tireless, almost evangelical promoter of all things poetic, jazzy, artistic and sometimes just downright batshit weird, Michael Horovitz.
He started performing and organising poetry events in the 1950s and was one of the prime movers behind the groundbreaking and rumbustious, by poetic standards of the time, legendary Royal Albert Hall beat poetry “happening” of 1966.
“Misbehaving” beat poets somehow got poetry banned from the RAH for the next 18 years. God knows how long the ban would have been if we punk poets had been there.
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Given the global plague of Agent Orange, the bard channels his energy into community self-help
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The bard ditches an unspecial relationship, encounters a new subdivision of metal, and discovers the cure for a stiff neck
