The invitation to submit a disgustingly flattering poem in heroic couplets in praise of a contemporary person of power saw you at your bootlicking best: Donald Trump, Anthony Scaramucci, Xi Jinping, Emmanuel Macron and Vladimir Putin were all on the receiving end of some serious sucking-up. Bill Greenwell’s tribute to Justin Trudeau caught my eye:
In Competition No. 3011 you were invited to submit a disgustingly flattering poem in heroic couplets in praise of a contemporary person of power. You were at your bootlicking best this week: Donald Trump, Anthony Scaramucci, Xi Jinping, Emmanuel Macron and Vladimir Putin were all on the receiving end of some serious sucking-up. Bill Greenwell’s
The latest comp, which called for extracts from a mash-up of a literary classic of your choice and horror fiction, was a nod to the recently deceased George Romero but also owes a debt to Seth Grahame-Smith’s 2009 Pride and Prejudice and Zombies, which weaves scenes of ‘ultraviolent zombie mayhem’ into Jane Austen’s original text.
In Competition No. 3010, a nod to the late, great George Romero, you were invited to provide an extract from a mash-up of a literary classic of your choice and horror fiction. Nathan Weston’s Werewolf Hall, Brian Murdoch’s The Gruffalo in Transylvania, Bill Greenwell’s Three Men and a Zombie and Nicholas MacKinnon’s The Nightmare
The idea for the latest challenge, to submit a poem about a domestic object, came to me when reading about an exhibition at the University of Hull (until 1 October) of Philip Larkin’s personal possessions. Alongside books, records, a pair of knickers and a figurine of Hitler is the lawnmower that inspired the poem ‘The
In Competition No. 3009 you were invited to submit a poem about a domestic object. I set this challenge with Philip Larkin’s ‘The Mower’ in mind, which he wrote in the summer of 1979 after inadvertently killing a hedgehog while cutting the grass. According to Betty Mackereth, Larkin’s secretary and onetime lover, he told
The latest challenge was to take the last line of a well-known novel and make it the first line of a short story written in the style of the author in question. The pitfalls are many as an author approaches the finishing line. In Aspects of the Novel, E.M. Forster wrote that because of the
In Competition No. 3008 you were invited to take the last line of a well-known novel and make it the first line of a short story written in the style of the author in question. There’s room only for me to lament the lack of space for more winners; the judging process was especially
The invitation to submit a poem about Larry, the Downing Street cat, went down well, attracting a hefty postbag. Larry, who came to No. 10 in 2011 from Battersea Dogs & Cats Home during David Cameron’s premiership, was left behind when the family moved on (though Mr Cameron denied that this was because he hated
In Competition No. 3007 you were invited to submit a poem about Larry, the Downing Street cat. Larry came to No. 10 in 2011 from Battersea Dogs & Cats Home during David Cameron’s premiership. He was left behind when the family moved on, though Mr Cameron denied that this was because he hated cats. Although
The latest challenge asked for a sonnet that takes as its opening line Keats’s ‘Why did I laugh tonight? No voice will tell:’ (This was a sonnet Keats chose not to publish but transcribed into a long letter he wrote over a period in early 1819 to George and Georgiana Keats, his brother and sister-in-law.)
In Competition No. 3006 you were invited to submit a sonnet that takes as its opening line Keats’s ‘Why did I laugh tonight? No voice will tell:’ (This was a sonnet Keats chose not to publish but transcribed into a long letter he wrote over a period in early 1819 to George and Georgiana Keats,
Inspiration for the latest competition came from Anthony Lane’s terrific ‘The Book of Jeremy Corbyn’, an account of the general election that ran recently in the New Yorker and was shared widely on social media: ‘And there came from the same country a prophet, whose name was Jeremy. His beard was as the pelt of
In Competition No. 3005 you were invited to take your inspiration from Anthony Lane’s terrific ‘The Book of Jeremy Corbyn’, an account of the general election that ran recently in the New Yorker and was shared widely on social media: ‘And there came from the same country a prophet, whose name was Jeremy. His beard
Kellyanne Conway’s alternative-facts interview earlier this year brought to mind Humpty Dumpty’s words from Lewis Carroll’s Through the Looking-Glass (‘When I use a word,’ Humpty Dumpty said, in rather a scornful tone, ‘it means just what I choose it to mean — neither more nor less’), and it struck me that Donald Trump’s America might
In Competition No. 3004 you were invited to submit an extract from Lewis Carroll’s Alice in Trumpland. As I was listening to Kellyanne Conway’s alternative-facts interview earlier this year, Humpty Dumpty’s words from Through the Looking-Glass floated into my mind (‘When I use a word,’ Humpty Dumpty said, in rather a scornful tone, ‘it means
Everyone loves a clerihew, its seems. The request for ones about contemporary politicians drew an enormous and excellent entry — from veterans and newbies alike — and even included a couple of limericks for good measure. For the avoidance of doubt, the clerihew is a comic four-line (AABB) poem characterised by metrical irregularity and awkward
In Competition No. 3003 you were invited to supply clerihews about contemporary politicians. In an enormous and excellent entry, popular rhymes included ‘charmer’ and ‘Starmer’; ‘Boris’ and ‘Horace’; ‘Sturgeon’ and ‘burgeon’; ‘Corbyn’ and ‘absorbing’. Putin likes to ‘put the boot in’, apparently, and that David Davis is, by common consent, a ‘rara avis’. There
This week you were invited to fill a gap by providing lyrics for the European anthem. The powers that be behind the anthem, which has as its melody the final movement of Beethoven’s Symphony No. 9, chose to dispense with Friedrich von Schiller’s words. ‘There are no words to the anthem; it consists of music
In Competition No. 3002 you were invited to provide lyrics to the European anthem. The anthem has as its melody the final movement of Beethoven’s Symphony No. 9 but dispenses with Schiller’s words. I wondered if anyone might go back to his 1785 ‘Ode to Joy’ and repurpose the following lines: ‘Yea, if any hold