Servant Drone makes SJ Fowler’s 3:AM MAGAZINE Top Reads of 2015

‘Brilliant collaborative poetry collection (of which there are far too few) taking on a necessary issue in necessarily disjunctive ways.’

SJ Fowler 3:AM magazine on Servant Drone

We made the 3:AM MAGAZINE Top Reads of 2015 list for Steven J. Fowler. It’s exciting to be alongside the stellar company of;

Tom Jenks, Spruce (Blart Books)

One of most overlooked poets in the UK, doing the work conceptualism should be doing, getting to the heart of uniquely British ennui through splicing methodology and jet black humour.

Sandeep Parmar, Eidolon (Shearsman Books)

High modernism powerfully maintained and redeployed by one of the most interesting poets crossing the American / UK scene.

Tom Chivers, Dark Islands (Test Centre)

One of the clearest voices in British poetry in his finest work to date, beautiful rendered, written and designed.

Emma Hammond, The Story of No (Penned in the Margins)

Powerful for it’s immediacy, incredibly sophisticated for it’s lack of pretension in the face of profoundly personal poetry. Amazing book.

Christodoulos Makris, The Architecture of Chance (wurm press)

This is the future of a poetry which reflects our world of language without dispensing with the expressionistic skill of interpreting that language. Found text lies with lyrical poetry, a thorough achievement to balance them to such effect.

Peter Jaeger, A Field Guide to Lost Things (If P Then Q press)

Clever, resonant and profound, as all of Peter Jaeger’s works are, a fine example of the possibilities of contextual, process-orientated thinking getting to the heart of contemporary poetry.

Michael Thomas Taren, Eunuchs (Ugly Duckling Presse)

Best possible example of what is possible in contemporary American poetics of my generation. Excessive, authentic, ambitious.

Rebecca Perry, Beauty/Beauty (Bloodaxe Books)

Reflective and observational in the most well conceived way, a clear poetic experience as a book, it accumulates and resonates as a collection.

Lee Harwood, The Orchid Boat (Enitharmon Press)

The last work by one of the most interesting poets in the English language in the latter half of the 20th century, a typically beautiful book.

Bruno Neiva & Paul Hawkins, Servant Drone (Knives Forks and Spoons Press)

Brilliant collaborative poetry collection (of which there are far too few) taking on a necessary issue in necessarily disjunctive ways.

Thanks Steve and 3:AM MAGAZINE. You can buy a copy by clicking here.

New Books

NEW books >>


Place Waste Dissent (Influx Press) avant-garde experimental text collage

I’ve a ltd. number of signed copies available £9.99 + p&p worldwide BUY


‘. . . the book is stamped with left-field credentials: Gee Vaucheresque monochrome montages of photos, police documents, agitprop fliers and eviction notices circumscribe and blend into the verse itself . . .’
Peter Boughton in Minor Literatures

‘. . . the jagged edges of Hawkins’ verse collages express heated moments of collision and confusion during the opposition to evictions which turned out to be a foretaste of the kind of Neo-Liberal urban enclosure that blights London today . . . ‘ Stephen E. Hunt for International Times

‘ . . . it is the strength of the presentation that gives this book its edge. It is performance art on the page, an installation with time as the third dimension rather than space . . . ‘
Jackie Law at Never Imitate

Launch Events ON NOW

Nov 10 – Dec 12 Exhibition of art & text from Place Waste Dissent at The Arts House, Bristol more info

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Servant Drone CoverServant Drone (KF&S Press)

a collaboration w/Bruno Neiva out now £8.00 BUY

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Servant Drone (KF&S Press) by bruno neiva & Paul Hawkins is out now . . .

Knives Forks & Spoons Press have published Servant Drone, a collaborative text of exploratory poetry from Porto & Bristol by bruno neiva and Paul Hawkins.

‘Deeply nuanced and obliquely radical, this is a book to keep in your pocket as a charm against the liquid spectres of a late capitalist Monday morning.’
Tom Jenks

Servant Drone Coverbruno and Paul were recently interviewed about their work by Chris Turnbull for Ottawa Poetry, you can read it here.

You can buy a copy from me here £8.00 + p&p worldwide

SJ Fowler on the forthcoming Hawkins/Neiva Servant Drone collection

“What is the worst poetry myth? That it is a singular form, not naturally lending itself to collaboration? Or that what is actually contemporary, relevant, dynamic, is innately experimental or strange? Servant drone is one of the finest examples of a poetic work which destroys both superstitions in one fell sweep. It is energetic, decisive, colloquial and necessary. It is a work of synthesis between two exceptional vanguard poets that balances satire, critique and humour with an intense methodological engagement.”

SJ Fowler on Servant Drone (KF&S Press out Nov. 2015)

SJ Fowler is a poet, artist, curator & vanguardist. He works in the modernist and avant garde traditions, across poetry, fiction, theatre, sonic art, visual art, installation and performance.

Queen Mob’s Teahouse publish Servant Drone texts

Thanks to poetry editor Erik Kennedy for publishing #10 & #11 from the new Servant Drone collaborative text due out very soon on Knives, Forks & Spoons Press. Read it in full here …

SJ Fowler had this to say on the new Servant Drone collection;

“What is the worst poetry myth? That it is a singular form, not naturally lending itself to collaboration? Or that what is actually contemporary, relevant, dynamic, is innately experimental or strange? Servant drone is one of the finest examples of a poetic work which destroys both superstitions in one fell sweep. It is energetic, decisive, colloquial and necessary. It is a work of synthesis between two exceptional vanguard poets that balances satire, critique and humour with an intense methodological engagement.”

SJ Fowler on Servant Drone (KF&S Press out Nov. 2015)

Ottawa Poetry interview . . .

More has been added to an extensive interview with Bruno Neiva and I by Chris Turnbull over at Ottawa Poetry.

Here’s an excerpt;

Q: How has living in other regions physically affected your writing? What choices have you made, writing wise, as an effect of moving/displacement/returns? Did you move while working on Servant Drone? Do you, looking back, see a shift of some sort in your writing/collaboration?

B: I didn’t move as many times as Paul. So far, I lived in the North and Centre of Portugal, Switzerland and in the North of Spain. I’m back to Portugal now, after quite some years away. Servant Drone was written when I was still living in Spain. I used to give in-company Business English classes during that period and it gave me a lot of material to work on. It’s true that every time I move home I instantly start working on new stuff. Maybe it’s the effect of new surroundings, I can’t really tell. And then there’s the memory I retain of the places I’ve been and the people I’ve met, which is sometimes presented in my work, especially in my poems, in a rather direct fashion. Memory’s a valuable tool indeed.

P: I’ve moved on average every 11 months to date, sometimes through choice, other times through having no choice; where political, economic or personal situations have dictated me packing a bag. I’ve lived the life of, at times, an itinerant traveller, mainly in the south of the UK and the south of Spain, and to a lesser degree in France and the USA. Looking back there has been nothing remotely romantic about this state of affairs; it’s been painful, exciting, depressing and baffling. I am in no doubt that it has influenced my writing; certainly in my two books, Claremont Road and in Contumacy, as well as in diaries, journals and in other creative non-fiction, as well as in Place Waste Dissent and Servant Drone. I’ve been obsessively compelled to write in order to try and make (non)sense of the twenty-first century world I/we inhabit. One of my earliest memories is falling asleep whilst studying a large map of London that was selotaped on the bedroom wall around the age of nine; the contour lines, road markings, train stations, place names, rivers etc. etc. filled my imagination and dreams, and place has personally always been the site where many frameworks of interrogation/imagination have been constructed; be they linked to memories of friends, family, events, or of politics, relationships, experience, to the huge opening up of the planet that the internet has brought about etc. A psychological/geographical terrain retains its lineage, its echo and resonance long after the lived experiences in real-time have taken place. Areas in east London I learn’t from the bedside map, travelling through them en route to other places, then squatting and living in them, and of course what photos/films/media/music I watch, listen to, read, the personal memories exist often by what is absent, what is written out of the grand narrative, of the (his) story of newspapers, journals, documentaries, books, of walks, of politics. The culturally contested sites. When I physically inhabit these places (Leyton, Leytonstone, Hackney); walk or cycle, travel by bus, train or car, the accompanying rush, or drip-drip of conscious/subconscious psycho-geography begins to leak through into my writing. This has directly influenced the multiple perspectives that are often transgressing, crossing-over, confronting each other in my work. For example;

#24 (hawkins)
Shooting Location: Airport Lounge (or privately-funded hospital foyer)
Director(s): Donna Bale
Actor(s); Charlie Uncle, Kid Tango, Dog
Editor(s): Sal Barchmann, Roger Lazerbee
Login: TTYI4545@nasr ____
Dog’s gotta booklet. Scoop salmon from the tin onto sideplated white bread. Masticate. Gums, roof of mouth, teeth popping fish spine beads. Clench-ripple throat muscles, squeeze the paste past turnstile of tonsils. Dog’s gotta bowl. Passively smoke: the sun shines tuneless blue air. I stopped, listened, repaired the cistern. Dog’s gotta boss. The washing machine? It’s full of rust. Dog’s gotta boundary.

Whilst working on Servant Drone I moved from Bournemouth to live in Bristol with my partner Sarer. On a very basic level the unfamiliarity of a new city, and a lack of personal connections there fed directly into the collaboration. A sense of movement, alienation, lack of familiarity, a physical and psychological disruption, the uncertainties, the love and joy of a new phase in a relationship, the endless possibilities seemingly squeezed in the vice of a tired, corrupt and biased political system . . .  that said, I’m not too sure specifically what shift occurred. We completed the sixty poems in Servant Drone not long afterwards and then moved onto the process of manuscript editing, which, for me, was thankfully a short and sweet experience.

Read more here

Servant Drone interview at Ottawa poetry

Over at the Ottowa Poetry website, Chris Turnbull interviewed Bruno Neiva about his work, and also interviewed the pair of us about our Servant Drone collaboration, which will see the light of day in print thanks to Alec Newman’s Knives Forks & Spoons Press (KFS: 2015).

Q: There’s about 30 pages each of Servant Drone — did Servant Drone have a form that you both worked out, or was it more organic, leaving each of you to your own styles, inclinations, craft?
B: We had total freedom and never interfered with the other’s work. In all collaborations, you know, things do work or they don’t work at all, there’s no middle term really. So we didn’t impose anything on the other. When we showed each other the very first poems of Servant Drone we instinctively knew that it could work that way. So we kept writing until the book was completed. Form/Structure? As I said before, I would write one poem and Paul would answer to that poem, and vice versa, until we reached 30 poems each.
P: I would write in response to Bruno’s text, and then write a fresh piece for Bruno to respond to; there were no fixed form(s) at all, then he would do the same. That was how we shaped the project; it allowed opportunities to experiment, there were no rules. I found collaborating with Bruno as SD (Servant Drone) really helped me hone and sharpen an ongoing personal project: my own definition of poetry; one that reflects the 21st century we live in (uncertainty vs endless possibility, unpredictability, confusion; a vast richness ) rather than surfing in the chemtrail of conservative mainstream poetry traditions; being stuck in a time-warp.

Read the interview in full here.

bruno neiva and me collaborating

So text artist bruno neiva and I have been sending each other words and taking it in turns to read what the other wrote, and then using the others words as a diving board into writing a response. Sort of. We called the whole thing Servant Drone. We don’t know what it means. But what we’ve been able to do is cull 60 pieces of text into a book, which we hope someone will want to publish. We have a publisher in mind and will be submitting said manuscript at the end of this month.

We have a play around with what those words look like, as well as the order they go in.

Here’s one I made earlier…


we’ll let you know when it’s published, as we hope you might want to take a closer look and buy a copy.


Servant Drone (neiva & hawkins)

sd1 Servant Drone is an elastic foray into experimental cross border text collaboration; mapping a deep trench into place-specific zone enquiry’. Servant Drone is a collaboration between bruno neiva and me.

background image: privados um (2), by bárbara mesquita (published in Issue 26 of otoliths)

#18 (neiva)

mostly digital
not a purist
no not anymore
(and I still can’t tell the difference between Dave and Pearce)

8-track kneecap
utterly foam
89.9p. sort of
soaring low
selling out a bit
& associates

(and I still can’t tell the difference between Wall and Wind)

#18 (hawkins)

see four
like bad teeth
this ex-boxer’s

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