The Starbeck Orion Issue #9 Showcasing: Alan Parry, Page 1 of 25

A Feast Of Words And Image

Neon Ghosts front cover

Here's a link to Alan’s latest published writing: Peeling Apples:

https://amzn.eu/d/1wcrqRt

Alan Parry

is a poet, playwright, copywriter, and the visionary Editor-in-Chief behind The Broken Spine, hailing from Southport, near Liverpool, U.K. With a robust academic background that includes a BA in English Literature and Creative Writing from the Open University and an MA in Popular Culture from Edge Hill University, Alan’s scholarly pursuits have deeply informed his creative and editorial endeavours. His academic research into representations of masculinity in low-status comedy and media has added a layer of depth to his literary exploration and critique.

Since releasing his critically acclaimed debut poetry chapbook, Neon Ghosts, in 2020, Alan has continued to captivate the literary world with subsequent publications: Belisama (2021), a competition winner at Hybrid Dreich – Alliance; Echoes (2022), a poignant collection of poetic letters and a monologue play; and Twenty Seven (2023), a tribute to Jim Morrison that serves as both critique and homage to the counterculture icon.

In 2023, Alan made his mark on the spoken word scene with his debut show, Noir, at the Morecambe Fringe Festival, further solidifying his role as a dynamic force in the arts. Under his sole leadership, The Broken Spine has flourished, now having produced an astounding seventeen publications. Alan has worked with notable writers such as Matthew M. C. Smith, Casey Bailey, and Elisabeth Horan, among others. His commitment to fostering a vibrant literary community is evident in his regular hosting of online Open Mic nights and book launches, creating a welcoming atmosphere celebrated for its warmth and inclusivity.

The Broken Spine is embarking on an ambitious project, The Whiskey Tree, which promises to bring together waves of poets in a celebration of untamed writing. Alongside this, Alan has opened submissions for the first of twelve Slimline anthologies, thematic publications that will unfold over the next three years. His dedication to nurturing new talent is unmatched, offering mentorship and writer services, including specialised feedback sessions designed to refine and elevate the work of aspiring poets.

Alan’s contributions to the literary world have not gone unnoticed, earning him the 2021 Alliance Poetry Award from Hybrid Dreich alongside several other poets. Testimonials from authors he has worked with underscore the respect and admiration he has garnered within the literary community. Alan’s approach is characterised by meticulous attention to detail, a commitment to long-term promotion, and a nurturing, critical friendship that values and safeguards the work of the writers he collaborates with.

For those looking to make their mark in the literary world, Alan Parry represents an aspirational and committed partner. His editorial expertise, coupled with a heartfelt approach to publishing, makes The Broken Spine a publisher that truly values their work. To explore the possibility of working with Alan or to receive a free consultation, contact him at alan@thebrokenspine.co.uk.

Alans website is highly recommended:

https://alanparrywriter.co.uk/

Extract from my The Wombwell Rainbow interview of Alan in 2019:

1. When and why did you start writing poetry?

I never set out to be a poet, not explicitly. My poetry is a response to life. The main contributing factor behind my urge to write is most likely the soundtrack to my early years. I was raised to believe that song lyrics are as important, if not more so, than the music they accompany. That early appreciation for language, for verse, has never diminished. As a teenager, lacking in musical ability, I consoled myself in my ability to write poems and songs and it was around this time that I developed an interest in drama. Particularly the work of Shakespeare and Willy Russell. Unfortunately, I did not possess the maturity at that time to follow my passion through education and my writing sort of fell by the wayside. Only yeas later, after a drunken conversation with an old pal, did I decide to return to education. And it was as I studied towards my degree that the muse returned. Now, I find writing to be liberating. I find that with a little provocation, my life experience spills out of me.

2. Who introduced you to poetry?

Poetry has always just been there. I seem to remember how I spent hours listening to the work of A.A. Milne, Roald Dahl and Roger McGough as a young boy when sleeping over at my grandparent's. And I have fond memories of holidaying in North Wales with family and of my Nan creasing with laughter as she read Dahl's Revolting Rhymes to me, specifically the moment when Little Red Riding Hood '...whips a pistol from her knickers'. So, for me, poetry was a communal thing. Like storytelling, it was something to be shared. Later, my Dad introduced me to the work of Bob Dylan and The Specials via a cassette tape in his gold Ford Capri. Each time we popped out to the shop he would emphasise the instrumental force of their words. However, I don't recall ever hiding myself away in my bedroom to read poetry, unless we're counting the lyrics in the sleeves of Frank Zappa's Sheik Yerbouti and Broadway the Hard Way. which were a little bit naughty for a boy of my tender years. Interestingly, I had my first beer with my Dad when I was quite young, about 14. He whisked me off to the local arts centre to see John Cooper Clarke perform and this had a major impact on me. In fact, we went two years running and I was lucky enough to meet him the second time. I had never seen anybody ooze cool like that and I could not wait to share the experience with my teachers and anybody else who cared to listen. All of this reinforces this idea of sharing.

3. How aware are and were you of the dominating presence of older poets traditional and contemporary?

Quite honestly, I never truly interacted with the work of the older poets until university. Doubtlessly, I had heard of them. We covered some of their texts at school, but I hadn't been particularly engaged. Of course, there is an age old debate which rages over the elite and the popular and much of the literary canon has endured because it has a sort of protected status. Although, I would say that by the time I hit high school in the nineties, things had shifted some. I recall reading more modern poets than we did the classics.. It was at this point that I was introduced to diasporic writers such as John Agard and it was this that resonated with me. I would argue that good quality poetry needs to speak us readers, to be immediate, to make us feel and possibly even alter our world views and/or actions. Poetry need not be difficult or challenging. My study of the older poets certainly intensified as I studied towards my degree and I subsequently developed a greater understanding and appreciation for the work of Shelley and Blake et al. However, I believe that those who lack a deeper understanding and experience of this more challenging material may feel alienated and/or overwhelmed by the archaic language, form and imagery. Therefore, I think it is the job of writers, educators and academics to change this; to see the value in more popular and accessible literature and revise the canon accordingly.

4. What is your daily writing routine?

I get something down every day. I cannot stress the importance of forming this habit. As aforementioned, I had let this slip, but this is now my one rule. It need not be on paper either, though this is my preference. I also use an app on my phone (which often causes fellow writers to recoil in horror) and my laptop. Not everything I write is a fully formed poem, or line even. Sometimes all that comes is a phrase, or a series of unrelated words. Still, I record everything and let nothing go. I write lists and play word games regularly and revisit my old notebooks all the time. I carry a bunch of them about in my bag along with a couple of poetry collections everywhere I go. Most often while I am reading I have a notebook beside me and a pen behind my ear, ready, coiled. I work full time in an office and am a family man, so I make a creative use of my commute and lunch breaks. Most often, a scene will present itself to me and I try to work with it, detailing what I see in my mind's eye. I liken it to the way a portrait artist will take photographs and draw initial sketches of their subject. Everything I write has some worth, if not in its initial form, then on revision. I believe that reading encourages us to concentrate our attention. This is but one of the wider benefits of being well read.

The Showcase Interview

Q:1. Why did you begin with the poem from Neon Ghosts "grief/lust/music"?

I began the collection with grief / lust / music because, in many ways, it marks the beginning of my journey as a published poet. It was the first poem of any real note that I had published, and its reception at the time was something special. Black Bough not only celebrated it but also used its title as a subtitle for a page in their broadside, which felt like an early validation of my work.

For those who have followed me since the beginning, this was likely their introduction to my poetry. It represents a moment when my voice started to reach people, and even now, looking back, I believe it stands up alongside my more recent work. It felt right to open with it, not just as a nod to where I started, but because thematically, it still resonates. The poem distils so much of what I explore in my writing: the intersection of loss, longing, and art. In that sense, it’s not just an introduction to my work but to the emotional and thematic core of the collection itself.

Q:2. How did you decide on the order of the poems in your showcase?

I didn’t overthink it too much, at least not in the way that some poets might painstakingly structure a collection. The order is largely chronological, reflecting my journey as a writer rather than a curated thematic arc. There’s something about that approach, I feel, that allows readers to see the evolution of my work, not just in terms of subject matter but in style, confidence, and control.

That said, I was mindful of maintaining variety. I wanted to showcase the range of ideas, themes, motifs, and stylistic choices that have shaped my writing over the years. Some poems are raw, capturing the immediacy of the moment they were written in, while others feel more refined, the result of years spent honing my craft. There’s an ebb and flow to the collection, shifts in tone and approach, that I hope reflects the way I’ve grown as a poet.

Ultimately, the order isn’t about creating a singular narrative but about offering a snapshot of my creative trajectory. Some readers will see progression, others might see recurring obsessions or themes I keep circling back to. Either way, it’s an invitation to trace my journey, where I’ve been, where I am now, and perhaps, where I’m heading.