Some nice things people have said about Contumacy…
If sound is one of the ways in which the world seeps into these poems, then food is the commodity that most repeatedly enters the body, and the poems in Contumacy want to explore the body under capitalism. If these notes have said more about the world than the poems themselves, this speaks to what I like most about Hawkins’ work: the poems consistently point away from themselves and take you back to the world; they let you listen in, then they make you listen out, then they tell you listen up.
Steve Willey; poet, organiser, independent scholar, online co-ordinator and unrepentant idealist
#contumacy – where do I begin… on the heels of Rimbaud: unputdownable
Paul Hawkins has picked up Tom Raworth’s energised quirky verbal speed: his rich, fractured, spatialised language drives in and on. I like it.
Jeremy Reed; poet and writer
Oulipian divination meets Metro cut-up. The Crash crash-edited into resistance rhythms, cash-in-hand concrete typography, mapping the run-off and the rackets from Claremont Road to Cameron, then cleaned out with half a brick. What looked like a wall, turns out to be a wall of sound; or a barricade. Tip #366: Hawkins is unstoppable.
Tony White; novelist, writer and editor
Ruthlessly political and socially aware, but never without warmth and humour, Paul Hawkins’ poems do the all-too-rare thing of exploring the minutiae of places, and the people who live in them, with the right amount of formal diversity. Contumacy is a collection that matters.
Mark Burnhope; poet, activist and editor
Some of the poems in Contumacy began life during a year long collaborative project with artist Michael Harford called The 50//FIFTY.
Cover artwork by Paul Hawkins.