"Structo 9", Euan Monaghan (ed)

16 pages of poetry (much in translation). 55 pages of prose. 11 pages of interviews. I've not heard of many of the UK authors, though some of them have had stories on radio 4 and Best British short stories 2012. My favourite piece might be "The Skylight" in which a burqa'd woman in Paris turns into a bird (in another story a giant wasp is encountered). In these slipstream pieces the non-fantasy elements are often well-rendered. A hallucination? If it is, it's a shared one. I wasn't so keen on "The Tiny Horses" or "Weekend".

"New Walk 6", Rory Waterman and Nick Everett (eds)

An illustrated A4 magazine with 6 pages of stories, 30 pages of poems, 9 pages of reviews, 9 pages of essays/review-essays, and 4 pages of author bios/interviews. The 2 essays are about Lowell and Rosmarie Waldrop. Poetry ranges from rhyme to prose poem - Matthew Welton, Christopher Reid, etc. Even within pieces, there's a range: the prose (by Jonathan Taylor) is rather poetic and has embedded poetry; Reid's poems don't need the line-breaks.

Most of the authors (amongst them editors and ex-editors of magazines/presses) have published at least one book. That's not always a recipe for success but in this case there's barely a so-so contribution. Its masthead describes it as a magazine "for poetry and the arts" though maybe there are too many pictures for my liking.

"Absence has a weight of its own" by Daniel Sluman (Nine Arches Press, 2012)

Love and death are intertwined, both strongly evoked. In poems like "Dream" the stream of imagery reminds me of Eluard. The imagery's sometimes too disjoint to construct a narrative from; like strangers stuck in a lift, the images have to find a way to get on with each other, and they usually do. Many poems alternate 1-line and 2-line stanzas. In part One, the last line often arrives at a place rather than a conclusion.

Much of the imagery is mainstreamly attractive -

• "until clouds smooth tracing paper// over the moon. They pull apart/ but waiver [sic?] like magnets// too-close together" (p.16)
• "estates// where roads writhe in endless cul-de-sac" (p.16)
• "clasps the side/ of the girl's face like a just-spun globe" (p.31)
• "tourniquet this moment/ before it bleeds out" (p.43)
• "My mind settles like a spun coin// warbling to silence. The fresh intimacy/ of your sheets is a currency// I'll fritter on cheap flimsy words" (p.68)

More mysterious is "my midnight resurrections/ trampled lines as I chased myself// into the mirror, a shaking finger muddying/ the bottom of a bag" (p.24). And I'm not convinced that "God sees me// as a tiny pink coffin, wandering// from place to place, waiting/ to fall into the open earth" (p.54) merits all that page area. Why "from place to place" anyway?

In part Three, words can become objectified - "We tripped over commas all summer" (p.59), "hurling well-fed/ adjectives through the air" (p.63), "adjectives prickle/ her palms like rain" (p.64). With so many images, metaphors can become mixed. In "keeling port// down my throat like a ship in a bottle. Waiting/ for the sails to be raised in my ribs, flailing at x", "port" is busy, as are sonics ("sails/flailing"), and the ending's enigmatic (maybe it refers back to the title - "Kiss"). In "Evocation" "the clutch chokes" - I remember when cars had chokes.

In "Holiday" and "So this is what it feels like", the metaphor ratio's lower. The latter in particular is close to prose and has a plot I've heard before as sit-coms one-liners. At times, as on p.54, the clipped imagery lapses into a form of telegramese but for the most part the tight phrasing enhances the intensity. I'm rather surprised that he's not been in some bigger magazines. Early days yet I suppose.

Other reviews

• Adam Horowitz (Ink, Sweat and Tears)
• Any McCauley (It's evident too in his tactical deployment of the line break, so that where he places his absences is just as important as where he places his words).
• Emma Lee
• Sheila Black
• Nathan Ouriarch (Dead Ink)

"Mind, Brain and Narrative" by Anthony J. Sanford and Catherine Emmott (CUP, 2012)

Introduction

This book "examines the psychological and neuroscientific evidence for the mechanisms which underlie narrative comprehension". Chapters have introductions and summaries, and there are suggestions on fruitful areas of research. There's a 10 page index and 34 pages of references. The authors keep to the theme of narrative - there's not much about metaphor and blending, though there's quite a lot about suspense. The kind of issues they address are like these - "when a narrator makes use of the pronoun you, it may create a greater sense of involvement. What does 'a greater sense of involvement' mean and can it be demonstrated empirically? ... For centuries it has been thought that direct speech ... is somehow more vivid that the indirect", p.7. As they point out, the many experiments they report upon (some as recent as 2012) often use simple texts, but the results are interesting all the same.

The book is based on a framework they call "Rhetorical Processing Framework. It encompasses three main strands: Fundamental Scenario-Mapping Theory ... The Rhetorical Focussing Principle ... and ... Experientiality: the importance of embodiment and emotion as a basis for experiencing narrative", p.6. Throughout the attempt to understand a narrative, the minimum of processing is done - in "good-enough representation ... The basic idea is that processing may only occur to the extent or degree of detail that is needed for comprehension in a particular situation", p.104. This can lead readers astray, in exploitable ways.

Scenario-Mapping Theory

"The strongest processing assumption of the Scenario-Mapping Theory is that the reader automatically seeks out a known situation (scenario) to which a text is referring .... leading to basic understanding", p.20. So when readers see "Martin crossed the busy road without looking both ways. The ambulance was too late to save his life.", (p.11) they construct a typical accident scenario after the first sentence, forming assumptions which makes it easy to connect the second sentence to the first and create a story. "world knowledge is not only utilized very rapidly, its recruitment can occur even more rapidly than a local semantic analysis of a sentence", p.25. They say that

• "Unless readers realize the causal relation, the sentences will not form a coherent whole. Understanding such relations between different propositions has been a key goal in Artificial Intelligence. The quest after a systematic way of thinking about the problem has led to a huge literature on the notion of coherence", p.11.
• "inferences involve the reader in using knowledge of the world in order to fill in gaps left by the text. Some inferences simply have to be made in order to understand most aspects of a message, in line with the discussion of RST [Rhetoric Structure Theory], and are for this reason generally known as necessary inferences ... These contrast with ... elaborative inferences", p.12.

Some inferences are quickly, almost automatically made. Others require guesswork and calculation. When reading, people don't do a complete low-level scan before assembling higher-level concepts. They quickly develop high-level hypotheses that inform the depth and thoroughness of subsequent processing. "A core idea behind this theory is that understanding does not occur through combining the meanings of individual words to derive sentential meaning, but that understanding requires at least some recognition of a situation or situations that constitute the basis for what is written", p.21. "while multiple sources of information (syntax, case assignments, local semantics) are used by the reader for interpretation, not all of these interpretations are completed", p.29.

If subsequent detail can't be accommodated into the assumed scenario, "secondary processing occurs and takes many forms. The main ones are: Accessing a new scenario ... carrying out other ad-hoc operation to accommodate the input ... Putting unresolvable input on a 'wait and see' list", p.38. Also "defamiliarization may ensue and cause a reader to look more thoughtfully and/or with amusement", p.39.

Scenarios can be unreal - "a counterfactual world ... is readily developed ... although it takes a few sentences for such items to become fully acceptable. This is a significant finding, since immersion in a narrative world is such a major element of reading many texts", p.48.

Rhetorical Focussing Principle

They quote Rabinowitz, who writes "we read with the prior understanding that we are more expected to account for a detail that is stressed ... than for a detail that is not". Following Leech and Short, they point out that foregrounding exists at multiple linguistic levels - use of italics, unusual punctuation, sonic effects, unusual words and metaphors, cleft constructions, etc (essentially any deviation from norms). They also have a section on "Inadvertent foregrounding, inappropriate usage and poor style". They write - "The Rhetorical Focussing Principle proposes that the familiar ideas of ease of anaphoric reference and strength of representation in memory have to be extended through the modulation of the depth of processing, a proposal that is central to this book ... The experiments presented in Chapters 4 and 5 showed that the foregrounding devices do indeed modulate depth of processing. Depth of processing is an important concept because it provides a general way of accounting for the relationship between devices in writing and the processing consequences that they have, in terms of tractable psychological ideas", p.267.

An awareness of the use of literary devices may provoke defamiliarization which "entails removing the automaticity of everyday processing, resulting, we suggest, in increased depth of processing. .... under the appropriate circumstances, a text that induces less fluent reading should result in deeper processing", p.112. This seems so when typeface complexity is increased but not for increased syntactic complexity.

Experientiality

We've already seen that readers extrapolate way beyond what the bare words say, and also that they don't give all the words equal attention. They are not machines - their bodies affect the way they process. The authors write that "There are many situations where pictorial representations induce brain activity normally associated with seeing the objects themselves, or using them", p.137, adding that "Since the mid-1990s, as part of the embodied understanding movement, there has been a growth in experiments showing an involvement of motor and perceptual activity in the understanding of linguistic depictions of events and actions. The strong version of the account claims that understanding is embodied ... even when abstract language is used", p.141. Damasio suggests that "when we see an entity such as a bear, our body reacts, and then we subsequently feel scared due to our experience of the body's response".

Bodies may influence cognition even if they're not always involved. "The idea of facial feedback seems counter-intuitive since it involves the facial expression causing (or inhibiting) the emotion, rather than vice versa. Nevertheless, there is substantial scientific evidence for this", p.194. They mention the pen-in-the-mouth induction technique that "involves holding a pen in the mouth using only the teeth to induce upward-turned lips, which in turn brings about positive affect in the person doing it .... In contrast, holding the pen only in the lips induces a frown, which in turn gives rise to negative affect", p.202.

Empathy

Other non-objective factors affect readers' processing, and the impact a text will have on a reader.

"In order to create empathy for a character, a writer will generally need first to communicate information about that character's emotional state ... One issue that has particularly concerned researchers in literary studies is that of whether a reader's ability to empathize is facilitated by sharing the characteristics of the character [gender, race, etc] ... moral judgement is important in determining whether empathy will occur ... A second issue is the way we respond to good and bad characters ... A third issue of interest is the possible moral consequences of empathizing with characters. Empathy researchers ... suggest that we tend to feel greater empathy for individuals who are close to us", p.211-212.

"Recent evidence suggests that morally based judgements during reading occur very rapidly, and are automatic ... results show that moral stance affects processing very rapidly", p.213-215. "The evidence strongly supports the idea that when we read of someone doing something that would be typically judged as bad, we immediately attempt to discern their knowledge and motivation", p.215.

Direct and Indirect speech

"The intuition that direct forms are somehow more 'vivid' than indirect forms finds support and explanation in experiments", p.190. "Continued use of free direct speech ... might potentially appear to readers to be even more vivid than direct speech", p.187. "One would anticipate that written descriptions of pain being inflicted, or emotional reactions to noxious situations, would elicit generally stronger sensory-related effects for you descriptions than would external perspective third person descriptions, though this remains to be established empirically", p.179.

Fiction and mental health

Are there connections between mental health and literature?

• "The results showed a positive correlation between exposure to narrative fiction and performance-based measures of social ability ... Furthermore, there was a negative correlation between exposure to non-fiction and social ability", p.259.
• "Pennebaker and colleagues['s] studies show that predictors of health are ... (1) high levels of positive emotion words, and moderate levels (not high or low levels) of negative words ... (2) increases in the use of causal words ... (3) switches in the use of different pronouns", p.262.

Conclusions for writers

Nothing very surprising, though experimental confirmation is comforting

• The authors give hints on where and how to hide details (in subclauses, etc) - "the technique of downplaying information to prompt later surprize is a key aspect of many types of narrative", p.93. They show the effect of point-of-view, and the factors that contribute to the sense of immersion. For the readers to generate effective scenerios, writers needn't aim for accuracy per se. They can trigger a scenario then individualise it by adding "reality effect" detail.
• "One potential problem with free direct speech is that the lack of reporting clauses may require readers to do extra processing to infer the identity of the speakers... For free direct thought, one might again expect the free form to have more impact. However, without the reporting clause ... there can sometimes be a problem of distinguishing whether a sentence is to be interpreted as speech, thought, or main narrative", p.187.
• "One of the skills in writing ... is to make such passages sufficiently detailed for the reader to engage with them, but not so specific that readers feel that the you address cannot or does not relate to them personally", p.175.
• "There is a balance here between the enjoyment of unusual events and the enjoyment of familiarity", p.269.

I enjoyed reading how experiments can be constructed to test hypotheses using reaction times, EEG (spatial resolution poor) and fMRI (temporal resolution poor). The experiments often using the "N400 effect" (there's a larger negative EEG voltage peak about 400 ms after a word is presented that does not fit a context well) to measure surprize. More can be inferred than I'd have expected.

One of their conclusions is that "All in all, a greater connection between psychological and neuroscience studies of empathy in general, and how writers might manipulate this in texts, must be in the sights of front-line future research", p.269. I think a focus on poetry might lead to some quick results. The experiments relating to scenario formation, foregrounding, and depth of processing use texts that are artificially short in a fiction context, but operate at a scale that poets exploit. Poetry has gaps, and scenario-revision is rife. Secondary processing is common, and minimum processing isn't the usual reading strategy. Foregrounding and defamiliarisation are the norm.

"Safest" by Michael Donaghy (Picador, 2005)

A note says that "'Safest' is the name of the computer file in which Michael had stored the poems towards his next collection". Only 36 pages have any poetry (sometimes only a line or two) and the book ends with 9 blank pages, but they didn't want to used any material that the poet hadn't earmarked for publication. I was told that on his computer he had a copy of my Literary Quotations file too.

A "Claude Glass" is a portable, slightly convex mirror that artified landscapes that were viewed in it. Users (who had to have their backs to the view) were soon made fun of. In "Upon A Claude Glass" we're told "Don't think you're any safer/ as you blunder forward through your years ... I know. My world's encircled by this prop,/ though all my life I've tried to force it shut".

"A Darkroom" is the next worthwhile poem. The reader's invoked to help keep images sharp, to fix them. I think "From The Safe House" imagines how the poem might have been understood by someone now dead, or imagines how such a letter might have been written. Time-lines are tangled.

Claire your good wife reading you this ... in Vera Cruz ... your four brown daughters ... There are parts ... ... I've yet to write ... ... postmarked Chicago, decades late ... Soon I'll ... post it from our clapboard student commune ... Claire is beside me ... I hear you hammer the ice from your boots ... ... and make the first move I enclose [the escape drill] with some photos of my son ... I have sent them you then ... instead of now, when I hear of your death ... ... Claire remarried and never had children

"Poem On The Underground" returns to ideas

as ancient maps imagine monsters so London's first anatomical charts displayed the innards of a vast loud animal ... But Harry Beck's map was a circuit diagram of coloured wires soldered at the stations. It showed us ... that the city's an angular appliance of intentions, not the blood and guts of everything that happens

There's eventually a twist, but the piece is Flash/essay. It could have been a sonnet.

p.40 is light. After "A Sicilian Defence" the pages are unnumbered. "Exile's End" is an out-of-the-body near-death poem. "The River Glideth ..." also has a persona that's not fixed in time and space.

I had trouble understanding the intention of several of the poems, though they look meaty enough to satisfy other readers.

"Reading like a writer" by Francine Prose (Harper Perennial, 2007)

You can't really skim through looking for neat little pearls of wisdom. You need to read the extracts (some of which are several pages long) and annotations. She begins with chapters on "Words" and "Sentences", pointing out that "Some writers can write both meticulously and carelessly, sometimes on the same page. At lazy moments, F.Scott Fitzgerald could resort to strings of clichés" (p.26) and that "many Raymond Chandler fans are more attracted to his sentences ... than they are to his detective plots" (p.48). Then she goes on to "Character" then "Dialogue", "Details" and "Gesture". She writes about breaking rules (the ones about "show, not tell" and fixed PoVs), how Jane Austen almost never uses physical gestures, how Dickens uses them as "handy mnemonic devices designed to help us to keep track of a large cast of characters" (p.228). Also there are sections about her teaching and learning experiences, and the value of slow, close reading.

"Flying into the bear" by Chrissy Williams (HappenStance, 2013)

Poems from The Rialto and several anthologies ("Adventures in Form", "Best British Poetry 2011", etc). I wasn't keen on this poet's poems in the "Adventures in Form" anthology (e.g. "The Lost"), partly they used elements that were beyond my aesthetic horizon, and partly because the forms didn't seem sufficiently adventurous or constraining (I've an old-fashioned belief that forms should present a challenge). I'm not entirely convinced by all the poems in this pamphlet either, but when the effects that are used more regularly in the forms are combined more freely, the result's striking.

I'll focus on the Bear poems - after all, the pamphlet's frontispiece says "for you/ who also live and die/ by the bear". The pamphlet's first poem is "The Bear of the artist" where the narrator "asked the artist to draw me a heart and instead he drew me a bear", the artist claiming that actually it's not a heart or a bear, that "as long as you keep me existing to put bears in your head" he'll carry on, though "there's nothing worse than a bear in the face, when it breaks/ - always - remember how your bear breaks down/ against the shore, the shore, the shore". Hearts break too. Pun on "sure"? Maybe.

In "Bears of the Light Brigade" the bears are sometimes soldiers, sometimes more - "Those who live/ bearhug to bearhug will die/ by the bear, understanding/ only dimly what they've lost". Perhaps the bear needs to be understood non-physically too, as in the earlier poem. At the end "Bears gather to watch the death/ of Tommy Cooper and swear:/ we will look for the stage, we/ will listen for the final laugh." The world's a stage? Who has the last laugh? Who blindly takes order? Who will transcend physically or bearness?

"The Invisible Bear" has six stanzas. If I've followed it appropriately, it has quite a conventional plot, but also some aspects that puzzle me. As the ancients did when looking up at the night sky, I'll invent a story to join up the dots

• Stanza 1: It begins "We went into the dome in daylight". It's a planetarium (actually at Greenwich, said the poet at the launch). No hands, no faces, just stars - "we could have tried, one day, to touch them". The starts are numerous, distant, but only "cold rocks and inert gases". I can imagine a couple evaluating their relationship. Or maybe "we" is humanity in general. In this stanza the words "in plain sight" and "long" seem surplus to me, making me think I've missed something.
• Stanza 2: "We fly into the stars ... Goodbye to ... all our wrong and stupid choices". Distance brings objectivity.
• Stanza 3: "Now we're flying into and through the bear ... But this bear is invisible. ... All I can do is tell you that your bear is here". A constellation isn't a bundle of stars localised in space. The stars may be further from each other than we are to them. So you can't voyage through "Ursa Major" - it's a chance alignment. But the pamphlet's first poem introduces "The Bear of the Artist", which is no ordinary bear. Nor is it a heart. There's more repetition in this stanza than I'm used to. What's it for?
• Stanza 4: You have to make do with a see-through bear. Looking back, "Our planet, back with a fox, is so small". "back with a fox"? In what sense? Maybe in the planetarium show they project a countryside scene at this point?
• Stanza 5: "This space ... between us is all there is" - forget the astronomical distances.
• Stanza 6: "Go back, go back. ... One step at a time is how we have to go. ... But stop. Bear. Be dazzled by the daylight.". Perhaps "Bear" is an imperative here.

Chance alignments are all we've got, but they're also all there is, so let yourself be dazzled.

Reading the pamphlet was a learning process for me. Fortunately there's a page of tightly packed notes. The URL http://bit.ly/Zdy0Xt mentioned there leads to a video showing a seasonal lake when she mentioned at the launch. I liked the poem it related to and several others (there are poems inspired by computer games, scarves, "The Terminator", Dante, etc), though neither "The Lost" nor "Four hours away" worked for me.

Other reviews

• John Field
• Thomas Ovans (London grip)
•  Afric McGlinchey (Sabotage)