Click here for Mario's 'Turkish' interview, a wide-ranging discussion on writing and science/ecology, Chernobyl, war, and modern poetics (plus a message for Turkish readers)

Click here for the Planet Poetry podcast: a profound meditation on science/poetry, the immense i tulips project, plus the role of quantum complexity & of silence in poetics
- or access just the interview itself [conducted by Peter Kenny, 2020/21] HERE [by kind permission]

Click here for 'Fuzzy Richness', an interview on science & poetry on the University of Liverpool's Poetry and Science Hub   [+ comet poem Philae on the same site]

Click here for an in-depth interview encompassing Ecopoetry, crib & education, published (2015) in Myths of the Near Future, Vol. 6 - 'Breakdown' [NAWE Young Writers' Hub]

Click here for audio of interview on IWW poets, given prior to the 7 May 2015 'Poet in the City' event entitled 'Voices from the War' (held in Richmond, London)
[If the above link is down, try this instead: click here - (author's re-edited version of the audio) by kind permission & for archive purposes only]

Click here for Mario's thoughts on how to approach commissions/ residencies in historic archives (Poet in the City/ Archives for London project at the Royal College of Surgeons)

Click here for Mario being asked about how he approaches poetry; the 'rules' of poetry; plus war, science and Chernobyl (Dmytro Drozdovskyi, Ukraine 2006)

Click here to read an interview with Melissa Hunt on the nature of poetry for The Loop magazine, March 2008

Click here to read 'Taking the Pulse': an interview for Writewords on Mario's writing practice, April 2005

Click here for Sally Carthew's wide-ranging interview (John Tranter/ Jacket 25)

Click here to read Mario's response to the question 'Why do you write?', posed by the Royal Literary Fund, 2009

Click here to listen to Mario interviewed by the RSA on the Environment and Education, 2008

Click here to read an edited transcript of an interview with The Grove, Oct 2009
What is language in poetry, and how does it write us? Is our collective imagination in shortfall? What are 'poetries' - and is the market destroying them?

Click here for Attributes of the Real, on Spatial Form, putting together collections, and the compositional process in i tulips

Click here for Mario's views on anonymous publishing and established writers, via ANON magazine

Click here for an interview on Perdika Press with Mario Petrucci and Peter Brennan

'Goat Bells and Graft': a freshly sonic means of writing (with Mario's thoughts on modernism & American poetics), in his 2011 Iota interview
[click here for author's pdf; or go to i tulips page for the published version]

 
Click here to read the interview in Acumen 59 ...

... "For some, vers libre isn't so much a case of playing tennis with the net down as dispensing altogether with balls, racquets and chalk. But is free verse genuinely 'formless'? Is it that poets such as myself are somehow prosodically dyslexic or (worse) lazy, or that recognisable/ recognised form attracts acknowledgement and value? There's something I call 'formal prejudice': the assumption that overt form automatically improves a work... What if the occasion demands not a 'tight' piece, but something with language-juices freely haemorrhaging?"

... "With modernism, I do enjoy the intellectual and linguistic rigour, the endeavour; but, even at its most bleak or experimental, modernist poetry is founded on generosity, on a foundation stone of gift as well as of quest. An essential part of that gift is the form you choose for it. Sometimes, a standard vessel works best; other times, you must cast it yourself. Done well, they're both aspects of the craft, of the soul."

 
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'Literature and the Sciences: Where do they meet?': Mario's talk at the London School of Economics - click here for [transcript] or [audio]

 
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New Trespass - Poetry Cafe, 21 April 2011 - click here for video of interview [poetry: justice, ecology, DNA, performance, radiation]
conducted by Sara-Mae Tuson; or click here for alternative online feed   (Reproduced by kind permission)

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copyright mario petrucci 2001