Exhibition of Life Drawings

Friday, 17 May 2024 at 11:51

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A few of my recent life drawings, along with others by colleagues, are in this exhibition at Juice in Hull.

For more life studies, please see the relevant portfolio pages.






Spring sprung again

Tuesday, 16 April 2024 at 18:56

No Text It's some time since I posted anything on the blog. Winter called for hibernation this year. I gave up my Royal Literary Fund Fellowship at the end of last academic year, and have been busy writing over the winter. Funny how the seasons affect what we work on and and how much. This year I've done no painting and little drawing. There are, however, a few new literary things in the pipeline which I hope to be able to mention in the next few days. Meanwhile, here's a photo I recently took during a fine holiday in Copenhagen.

Carol Rumens's Guardian Poem of the Week

Friday, 10 November 2023 at 15:17

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My poem "Toad" was Carol Rumens's choice for a recent Guardian Poem of the Week (16th October 2023). The poem is a version of a French poem by Tristan Corbière (1845-75), and appeared in my most recent collection French Leave: versions and perversions (Broken Sleep, 2023). Click on the link for the poem and Carol's discussion.

Poem of the week: Toad by Cliff Forshaw Poetry The Guardian

RLF Podcast -Why I Write

Thursday, 14 September 2023 at 16:18

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The latest in a series of podcasts "Why I Write" recently appeared on the Royal Literary Fund website. You can access it through this link, where is also a text PDF .

Cliff Forshaw - The Royal Literary Fund (

There are various other podcasts and short articles of mine, as well as many more by other RLF fellows, on the website. For access to all of my podcasts and articles up to date:

You searched for Cliff Forshaw - The Royal Literary Fund (

New Wine in Old Bottles? Or Old Wine in New Bottles?

Friday, 28 July 2023 at 13:41

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My podcast about working variations on Ovid's Metamorphoses for my collection Trans has just appeared on the Royal Literary Fund website. Click on the link for both audio and text versions.

Cliff Forshaw - The Royal Literary Fund (

I've just come back from a very fine holiday in the Baltic republics: Lithuania, Latvia and Estonia. At another time I might have continued up the coast to St Petersburg, but I think Russia is best left out of bounds at the moment. It's a pity as I've been translating a number of early twentieth-century Russian poets: Yesenin, Akhmatova, Pasternak and Khodasevich, and would have enjoyed practising my Russian, which over the last few years has been largely limited to Duolingo. I'm hoping the Russian poems will form part of a new collection of versions and perversions, joining poems from Spanish, Italian, German and Portuguese and maybe one or two from Latin and Greek.

I've always thought that recasting poems from different languages and periods was important. My first degree was in comparative literature and much of it centred around Dante and Petrarch and the Italian influence on the English Renaissance sonneteers. An interest in French nineteenth century poetry led, eventually, to my most recent collections, RE:VERB and French Leave.

There were a couple of anthologies in particular that sparked my imagination about the possibilities of translation. Poem into Poem edited by Georges Steiner, and The Poem Itself, edited by Stanley Burnshaw. These are pretty venerable now and probably out of print, but well worth picking up second-hand. I remember Georges Steiner giving a lecture at Warwick. I think he managed to quote from French, German, Italian, Latin and Greek in the original in the first ten or so minutes. At least that's what I think he was doing. If, at the time, it wasn't quite all Greek to me a lot of it was. His book After Babel has a discussion on the difficulties of translating Lewis Carol into French. Mad but interestingly so.

On the other side of the coin, Christopher Logue didn't trouble to learn Greek before turning the Iliad into War Music and subsequent versions. Working from Pope and other translations, he recast the epic as something rather interestingly movie-like, an ancient Western perhaps.

French Leave launch

Wednesday, 28 June 2023 at 17:01

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French Leave will be launched along with other Broken Sleep Books on Wednesday 29 June. There will be an online reading from 19.30 - 21.00. Tickets are availably for a small donation (at least £1).

Here’s a link to the event. Hope you can join us.

Broken Sleep Books June 2023 Launch Tickets, Thu 29 Jun 2023 at 19:30 Eventbrite

For more details of the book and some sample poems, please see the Broken Sleep website.

Cliff Forshaw - French Leave Broken Sleep Books

French Leave: versions and perversions

Friday, 9 June 2023 at 11:53

French Leave

My latest collection is due later in June from Broken Sleep.

French Leave: versions and perversions features translations of and variations on French poets from Gautier to Apollinaire. It is a sort of companion volume to my most recent collection RE:VERB.

As well as famous names such as Baudelaire, Rimbaud and Verlaine it includes a number of voices, both male and female, who night also have existed (or possibly even did).

The Broken Sleep website allows you to peek inside.

Cliff Forshaw - French Leave Broken Sleep Books

Released 30th June, 2023 // 82 pages // 978-1-915760-16-6 // RRP £8.99

French Leave follows RE:VERB in which Cliff Forshaw recreated Rimbaud’s terrestrial adventures from the Hooligan Poet and Seer in bohemian Paris, through the years as a tough merchant and gun-runner in Africa, to his death aged thirty-seven in a Marseilles hospital. This new collection plays variations on the themes and forms of French verse from mid-nineteenth century Gautier and Gérard de Nerval, through Baudelaire and Rimbaud, to Valéry and Apollinaire on the eve of the First World War. Among the well-known figures, Forshaw invents further fin-de-siècle personae that might have existed, and possibly even did.

PRAISE for French Leave:

From Pound and Eliot to Derek Mahon, Marilyn Hacker and Rachael Boast, Anglophone poets have looked to France to take their art to school. In French Leave Cliff Forshaw does the same, with a dazzling bouquet of translations and ‘variations’ taking off from French originals. With Gallic esprit and polish, and a strong admixture of zest and sass, Forshaw’s versions range beyond canonical favourites into strange and enchanting territory. French Leave is no vin de table, but a vintage performance.

— David Wheatley


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