Sequencing the collection

When I was publishing poetry collections under the Calder Wood Press imprint I always took a great deal of care placing poems in a sequence I thought made sense. It was one of the things I enjoyed most about publishing. I also tried to do it with my own poetry books.

Now there’s the new one:


I can honestly say I took more care and expended more thought over the sequence of poems here than in any other collection I’ve written. Why? I think that having a structure, even an implied structure rather than an explicit one, makes a collection easier to read. There are many themes in this, my ninth and largest poetry book, and I’ve tried to ensure that the themes are linked, possibly through ideas, more often through words in one poem reflected in the next, even if the themes are different. I don’t suppose many readers, other than possibly some critics, will notice the connections, but I know they’re there.

I hope that readers will enjoy the poems as much as I did writing them, because I strongly believe that poetry is an act of communication between people. My late friend Brian Osborne, in his address to the Scottish Library Association awarding me Honorary Membership said that I was all about communication. It was true then. It is true now.

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Also by Colin Will

First there was Thirteen Ways of Looking At the Highlands (Diehard, 1996)


Then came Seven Senses (Diehard, 2000)


Mementoliths (Calder Wood Press, 2005)


Later replaced by the revised Mementoliths 2 as a Kindle edition (2011).


Sushi & Chips (Diehard, 2006)


The floorshow at the Mad Yak Café (Red Squirrel Press, 2010)


Recycled Cards (Kindle, 2011)


The Propriety of Weeding (Red Squirrel Press, 2012)


The Year’s Six Seasons (Calder Wood Press, 2013)


The Book of Ways (Red Squirrel Press, 2014)


Getting On (Postbox Press, 2016) (short stories)


The Night I Danced With Maya (Red Squirrel Press, 2017)




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The new book

Now that we’re into July I can begin letting people know about my new book, coming from Red Squirrel Press on the 22nd of the month. I’ve checked the proofs, and it’s now being printed, so here’s a preview of the cover:


Huge thanks to Gerry Cambridge for designing the book and the cover, and to Sheila Wakefield for publishing it. The cover reflects the mood of the title poem beautifully, and it also alludes to my other life as a musician. I’ll bring my tenor sax to the launch (details to be advised later), and my black fedora, but I think I’ll give the white bow tie a miss.

The poems were mostly written between 2012 and 2016.

It’s my tenth book, and my ninth book of poems, and it feels pretty amazing to have reached these particular milestones in my writing career.

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The back cover

The back cover blurb of a book usually describes the author, sometimes in embarrassingly excruciating detail, sometimes with quotes from the great and the good, or from reviews.

Writing a blurb is one of those essential jobs that most authors leave until the last minute. So it is with me. I’ve written a lot of them over the years, and it’s often hard to come up with something fresh that you hope will interest a reader, while providing the essential information which might move them in the direction of actually buying your book.

My tenth publication (Oooh! Get him!) is coming out on 22nd July, so I’ve I’ve been doing the necessary again. It’s a full-length collection of poetry, under the title The Night I Danced With Maya, and it’s being published by Red Squirrel Press. Arrangements for the launch are in hand, and more information will be coming later. So in the meantime, here’s what will be on the back cover, subject to editing and revision:

Colin Will began writing, mainly poetry, in 1961, but then wrote nothing between 1965 and 1985. In the interim he became a scientific librarian, adding a science degree and a doctorate in information science to his library qualifications. His first published poem was in 1989, and his first book – Thirteen Ways Of Looking At The Highlands, and more – was published by Diehard in 1996. Between 1998 and 2016 he ran Calder Wood Press, publishing 61 titles, mainly poetry pamphlets. His first Red Squirrel Press poetry collection was The floorshow at the Mad Yak Café, published in 2010, followed by The Propriety of Weeding in 2012 and the haibun collection, The Book of Ways, in 2014. He also writes short stories, and his debut short story pamphlet for Postbox Press is Getting On, published in 2016. He has written song lyrics, and his first short play was performed in 2017. He’s also a musician, playing saxophones and clarinets.

He has chaired the Boards of the Scottish Poetry Library and the StAnza Poetry Festival, and he is currently one of the team behind the CoastWord Festival, which takes place annually in his home town of Dunbar, in East Lothian. He was Makar to the Federation of Writers (Scotland) in 2011 and President of the Scottish Library Association in 2000.

These new poems were almost all written between 2012 and 2016. Their subjects are as varied as Colin’s interests – music, art, science, politics, landscape, nature and human nature. Its publication date coincides with his 75th birthday, and he has no intention of slowing down.


Will this do?



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Stepping down

Last weekend I stepped down from my second 3-year term chairing the Boast of Trustees of StAnza: Scotland’s International Poetry Festival. My involvement with StAnza goes back to 2003, and I first joined the Board the year after that. So I have had a long and very personal relationship with the Festival, and I have hugely enjoyed working with successive Directors Brian Johnstone and Eleanor Livingstone, and with Trustees past and present.

But for the past couple of years I’ve gradually been cutting down on my commitments, especially those involving committees. I’ll be 75 in July, and it feels like a good time to concentrate on my own writing.

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Past and Present


That’s the title we give to the sessions at StAnza: Scotland’s international poetry festival where a present writer talks about a poet from the past. These events have been a regular feature of the Festival for several years now, and I’ve been involved since the start, chairing and introducing three of the first four events, as I recall. I’ve continued to be involved, but as I step down next month from chairing StAnza’s Board of Trustees, I realise it may be the last time for a while that I sit in the Provost’s Throne in the Cooncil Chambers. I always feel somewhat ridiculous in that chair, and, frankly, it’s rather uncomfortable, but the quality of the speakers always makes up for that.

I chaired two sessions this year, both memorable, and both sell-out events. First was one featuring Neil McLennan on the war poets in Edinburgh, and the second was Alice Oswald on Homer. Both very different, but utterly fascinating. Neil talked about Craiglockhart, a hospital in WWI, then a Catholic convent and student teacher training establishment, and now a part of Napier University. When I was growing up in Colinton Mains, I passed it every day on my way to Craiglockhart Primary School. Neil spoke about Owen and others walking in the Pentland Hills, as I often did as a wee boy. And when he mentioned Owen teaching English at Tynecastle High School I almost couldn’t believe it, because my late brother Graeme attended the same school. Then to Alice Oswald. I found her talk riveting and entirely believable. I want to read the versions of Homer she mentioned, and ‘to hear the wind blowing through the words.’  I also want to re-read her own re-interpretation of the Iliad, a book I completely enjoyed on first reading. She was wonderful.

My second session in the chair was very different. Emmanuelle Lacore-Martin spoke on the poetry of Mary, Queen of Scots, and my old friend Stewart Conn on the poetry of Muriel Spark. I have to confess that I hadn’t previously considered Mary as a poet, but on this evidence she certainly was. Also, familiar as I am with the novels of Muriel Spark, I hadn’t read her poetry. And yet, according to Stewart, she always considered herself primarily as a poet.

The outcome of these sessions, I always hope, will be to make listeners seek out and enjoy the poetry of the subjects, and that’s definitely something I have been encouraged to do this year.



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Ian Hamilton Finlay, Little Sparta and other matters


I got the Newsletter of the Little Sparta Trust recently and, among other interesting things, there was a link to applications for a Residency this year. I thought about it, indeed I drafted an ‘Expression of Interest’, but at the end of the day I decided against applying, for reasons I’ll explain later. But it got me thinking again about Ian Hamilton Finlay, his garden, his poetry, and his art.

I first came across him in my ‘Beat’ days in the early 1960s. I used to frequent Jim Haynes’ The Paperback bookshop in Charles Street, the one with the rhinoceros head above the door (and how incorrect is that these days). Jim brought me mugs of black coffee, and I browsed the shelves for modern poetry – mainly American and European, but some home-grown writing. In 1962 I attended the infamous Writers’ Conference in the MacEwan Hall, bought Donald Allen’s New American Poetry, 1945-1960, and several issues of a broadsheet called Poor. Old. Tired. Horse., produced by Ian Hamilton Finlay’s Wild Hawthorn Press. It caused a revolution in my head. It was here that I first came across Lorine Niedecker, Jerome Rothenberg, Larry Eigner, and Cid Corman, along with work by Edwin Morgan, Pete Brown and many others. I like to think this was where I developed my internationalist outlook, and my love of ‘free’ verse.

Later I became a ‘respectable’ figure in society, a librarian even, but I still have that anarchic, rebellious side to my nature, hence the tattoos, and the love of improvisation, whether through jazz or through words. Ian was developing a series of ambitious projects which may be loosely categorised as concrete poetry, and I saw several of his artworks, with variations on words incised into walls, in Livingston and elsewhere.

And of course Little Sparta was developing, set in the natural landscape around Stoneypath. It was here that he explored the concepts of setting art in nature, of the inevitable contrasts and links between the given and the made. In my own writing I was beginning to explore these themes too, although my botany and my geology came from my scientific training, rather from artistic or aesthetic considerations. A lot of my writing, since the 1990s, has been informed by my scientific background, as well as my love of the arts and of gardens.

Then, when I was on the Committee of the Scottish Poetry Library, Tessa Ransford and I visited Little Sparta, to commission Ian to design a tapestry for the new library building then taking shape in the Canongate.

My most tangible link to Ian, however, is my long-lasting friendship with his son Alec. He and I have worked together on a variety of projects, from renga platform days to writing essays on Scottish mountain flowers, to helping with the National Memorial for Tissue and Organ Donation, among many others.

My 2012 poetry collection, The Propriety of Weeding, has this quotation from Ian as its Foreword:

The dull necessity of weeding arises, because every healthy plant is a racist and an imperialist; every daisy (even) wishes to establish for itself an Empire on which the sun never sets.

Here, I think, is the essence of my dilemma. Most of the everyday landscapes we see around us have been created artificially, and are managed, weeded if you like. The remaining pockets of wild nature are rare and hard to find, but it’s here that my inspirations mainly come from these days; they appeal to my wild side.

So, although I love art and gardens, and I’ve written extensively about them, when I considered the Residency carefully, I came down on the side of preferring to write new things about new subjects, rather than go over old ground. And as I’m mainly writing short stories these days my favourite subject is people, in all their variety and their common humanity.

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