In Competition No. 3085 you were invited to submit a poem in dispraise of Valentine’s Day. The day is said to have its roots in the Roman pagan festival of Lupercalia. But one scholar has proposed the theory that it was Chaucer who first designated 14 February as a day of love in his poem
The invitation to competitors to write a poem entitled ‘Breaking up is hard to do’ produced an inventive, accomplished entry full of witty flourishes, from David Kilshaw’s Brexit-inspired twist on Neil Sedaka — ‘Commons, commons, down, dooby, do, down down…’ — to Dorothy Pope’s poignant haiku — ‘plum blossom petals/ mistaken now for snowflakes/ so
In Competition No. 3084 you were invited to submit a poem entitled ‘Breaking up is hard to do’. From David Kilshaw’s Brexit-inspired twist on Neil Sedaka — ‘Commons, commons, down, dooby, doo, down down…’ — to Dorothy Pope’s poignant haiku — ‘plum blossom petals/ mistaken now for snowflakes/ so cold is your love’ —
For the latest challenge you were asked to submit a poem or a short story that begins ‘It started with a tweet…’. Hats off to Philip Machin for an appropriately pithy submission: It started with a tweet — There’s nothing wrong in that — But, sadly, indiscreet: It ended with a cat. Elsewhere, in a
In Competition No. 3083 you were invited to submit a poem or a short story that begins ‘It started with a tweet…’. Hats off to Philip Machin for an appropriately pithy submission: It started with a tweet — There’s nothing wrong in that — But, sadly, indiscreet: It ended with a cat. Elsewhere, in
The latest challenge was to write a poem taking as your first line ‘Happy the man, and happy he alone’, which begins the much-loved eighth stanza of poet-translator Dryden’s rendition of Horace’s Ode 29 from Book III. At a time of year when we traditionally take stock and have a futile stab at self-reinvention, you
In Competition No. 3082 you were invited to write a poem taking as your first line ‘Happy the man, and happy he alone’, which begins the much-loved eighth stanza of poet–translator Dryden’s rendition of Horace’s Ode 29 from Book III. At a time of year when we traditionally take stock and have a futile
The call to supply a parable rewritten in the style of a well-known author drew a lively and entertaining entry. Like Milton, many of you seemed taken with the Parable of the Talents. Here is Sylvia Fairley channelling Mark Haddon: ‘He gave five talents to one, that’s 14,983 shekels, and two to the next, 5,993
In Competition No. 3081 you were invited to supply a parable rewritten in the style of a well-known author. Like Milton, many of you seemed taken with the Parable of the Talents. Here is Sylvia Fairley channelling Mark Haddon: ‘He gave five talents to one, that’s 14,983 shekels, and two to the next, 5,993 shekels.
The most recent challenge, suggested by Paul A. Freeman, asked for an elegy on a piece of obsolete technology. There’s nothing like a blast of nostalgia to usher in the new year. Sinclair C5s, faxes, floppy discs, typewriters; all were eloquently hymned. I admired Hamish Wilson’s elegy on a radiogram and John O’Byrne’s Whitman-esque homage
In Competition No. 3080 you were invited to supply an elegy on a piece of obsolete technology. Thanks to Paul A. Freeman for suggesting this challenge — there’s nothing like a blast of nostalgia to usher in the new year. Sinclair C5s, faxes, floppy discs, typewriters; all were eloquently hymned. I admired Hamish Wilson’s elegy
Your new year’s challenge was to supply an anthem to usher in 2019, starting with the first line of ‘Auld Lang Syne’ and continuing in your own way. ‘Is not the Scotch phrase “Auld lang syne” exceedingly expressive?’ wrote Robert Burns to his friend Frances Dunlop in 1788, referring to the words of an old
In Competition No. 3079 you were invited to supply a new anthem to welcome 2019, starting with the first line of ‘Auld Lang Syne’ and continuing in your own way. ‘Is not the Scotch phrase “Auld lang syne” exceedingly expressive?’ wrote Robert Burns to his friend Frances Dunlop in 1788, referring to the words
The festive challenge was to submit a politically correct Christmas carol. One of Donald Trump’s election pledges was to end ‘the war on Christmas’, and he has given the electorate the presidential nod to say ‘Merry Christmas’ again instead of the more inclusive ‘Happy holidays’. But was this ‘war’ a pointless and misguided one in
In Competition No. 3078 you were invited to submit a politically correct Christmas carol. One of Donald Trump’s election pledges was to end ‘the war on Christmas’, and he has given the electorate the presidential nod to say ‘Merry Christmas’ again instead of the more inclusive ‘Happy holidays’. But was this ‘war’ pointless
This fiendishly difficult challenge, to submit a sonnet with the name of a Shakespearean character hidden in each line, pulled in a gratifyingly bumper haul of entries – from old hands and newcomers alike. The odd one or two described it as ‘fun’, but many were considerably less keen – C. Paul Evans, for example:
In Competition No. 3077 you were invited to submit a sonnet with the name of a Shakespearean character hidden in each line This one pulled in a bumper haul of entries, from old hands and newcomers alike. While some competitors described the challenge as ‘fun’, others greeted it with a squeal of horror. C. Paul
You seemed to embrace the latest challenge – to supply seriously misguided love poems – especially wholeheartedly, and I admired your powers of invention in finding so many ways of making my toes curl. Even Brexit got a look-in: ‘Let me be your Brexit backstop/ I will never set you free…’ (Ian Barker). Dishonourable mentions
In Competition No. 3076 you were invited to submit seriously misguided love poems. You seemed to embrace this task especially wholeheartedly, and I admired your powers of invention in finding so many ways of making my toes curl. Even Brexit got a look-in: ‘Let me be your Brexit backstop/ I will never set you free…’ (Ian
For this week’s challenge you were invited to submit poems by Donald Trump. The Beautiful Poetry of Donald Trump, which is the brainchild of Rob Sears, represents the fruits of Mr Sears’s efforts to find evidence of the president’s sensitive, poetic side in his tweets and transcripts. The verses in the book are stitched together
