The apprentice 2013 candidates relationship poems

The Apprentice May Meet the contestants in the ninth series

The historian, the doctor and the cupcake maker: meet the 16 candidates preparing to give %, think out of the box and smash those sales. Winning poems are published on The Poetry Society website, and the top three feature in the spring issue of The Poetry Review. Winners are invited to. The Apprentice liveblog is truly a fun place to spend a Wednesday three years ago we set out to make The Guardian sustainable by deepening our relationship with . Now Sugar assesses the non-winners, just for kicks.

Let's have a whizz round Twitter and the comments before we collapse in a heap. Like Superman's dad addressing him via hologram across a vast ice cavern.

No over-blown setting is ever too much for Alan. It's the Alan's Zinger montage! Is this a dig at the stories this week doubting her doctor qualification?

I still don't really know what she's a doctor of. You can be a doctor of anything these days. As far as we know she could be a doctor of the Klingon language. I want to actually hear what anyone, apart from Tom, has to say about their time with Alan and his vast piles of cash.

What's he really like? Did they ever see him again after the final? He's invented something called The Nipper Clipper which has a safety feature preventing you from chopping your baby's finger off. Oh god, the blood. It was an accident, god don't look at me like that. Their fingers are tiny, seriously. I just remember her saying, "I need the money," when asked why she was on the show. She can't even see Dara now. He's just a massive, talking pound sign and his ears are two pound coins and he's saying, "Cash cash money money.

Let's face it, we all were. When faced with a wall of jargon-spouting ninnies, why wouldn't we fall for the charms of a plain-speaking, straight-forward Northern dude like Neil? Alan also can't say enough about Alex and his product-creating ability. Surely this can't be the end?

Did that department store really put in an order for five million foldy chair thingums? Can I buy one? He's never broken his heart over a firing like he did with Neil. I'd put money on him being quietly offered a job with Amstrad when all the fuss has died down in six months. Like Simon Cowell giving the losers on X Factor a record contract when he thinks no one is looking. He is nodding like that bulldog on the car insurance adverts while Alan says it was a shame he nicked someone else's idea.

He says that Francesca's "Zumba wumba" idea confused him and his wife gave him a slap when he fired the dance-obsessed entrepreneur. Francesca employs an Alan look-alike and Alan is cheesed that her Richard Branson look-alike commands a bigger fee.

She's the only person who has ever managed to shut him up. Leah's parents look a lot like Luisa's parents? Is it in fact the same woman putting on an accent? I wouldn't put it past Leah to lock her actual parents in a cellar if they didn't make the right impression in front of the cameras.

I don't know if it's an improvement or not. Alan is looking very tanned. Perhaps he's been on holiday. As everyone knows, he simply gets a lacky to tether a deckchair to the top of The Shard so he can survey his business empire for a fortnight. I think I agree. Also, Who Cut Your Face?

The Apprentice final: as it happened | Television & radio | The Guardian

Craig Trainor whynotimbored Thinks "Niks" being ironic is a good move. Why didn't she just call it "We're gonna cut your face. Lolz" JNRaeside July 17, 9.

Well that's quite the endorsement. She could put it on the posters. Lorraine has a problem with cosmetic improvement. Leah is using Lorraine's first name because it said in her business handbook that that's a good way to get people to trust you.

Leah says this is a purely demand-generated service and she won't be trying to convince women they need procedures. So she won't be advertising then? The way she says "clinical" and wears her stethoscope and emphasises the medical aspect of her business is actually quite convincing. Using both personal and public archives, I contemplate the forces of history, experience, and location, and how they essentially work together to tell a story of longing as a state of being.

National Poetry Competition – The Poetry Society

I maintain a hybrid practice of poetry, critical writing, and visual work, which is sometimes collaborative see below. I am primarily a poet, but I studied sculpture, photography, and writing, so I consider everything an act of making. In particular, the book opens with a series of poems addressed to different fruit in which I think of myself as being on both sides of the conversation—an approach to interrogating myself for my assumptions, privileges, and self-representation.

"Long Distance Relationship" Poetry by shekhar [] For all the long distance lovers 💏

As you turn the pages, the poem animates like a flip book, heaving itself open and shut in a way that is supposed to be erotic and grotesque at once. We collaborated with the poet and artist Ian Hatcher on a free app through a grant from the Center for Book and Paper Arts that makes it possible for readers to mutate the text further, using their fingertips to prune the poem and graft new language into it.

These goals are tangential, but potentially integral, to presenting the poem as a beautiful object to experience.

I want the space of the poem to be a physical space that can be entered, the fuzz of the yarn to be an invitation to experience. Yes, the letterforms, the words, the lines—phrases that existed before only in the non-space of my head, or on the two-dimensional space of the page—when woven literally become material; they become three-dimensional, they become cloth, and they hold together.

I think the poem, for a non-poet or non-reader, can be a little daunting to enter. A lot of my work comes out of time I have spent abroad, nearly always merging these international experiences with materials that speak to both my identity which I always bring with me and the specificity of the location. In Finland, the spongy, mosquito-filled forest was a kind of language that found its way into my work. But I was also interested in the way the Finnish language uses compound words to form new words…how kahden the two of you and kesken between marry to become kahdenkesken in private.

Given the length of Finnish compound words, the majority of lines in the book required a word wrap. My main criteria for selecting a line of text was that it was whole, which resulted in an absurd text which is read aloud by the computerized voice of Google Translate in English. More recently, in Iceland I made ceramic versions of the historic wooden bread boards I saw in an Icelandic turf house museum.

Text is carved backwards into the material to create a mirror image that imprints a proverb onto the bread dough. Breadboard with proverb carving I often use hidden or double meanings when titling my work. I have always been restless in my interest and realization in language.

I am aware how I use language collage or appropriate it as a visual artist opposes to a person who writes art poet. I see language functions several levels in my making— as it continually goes back and forth between meaningful and material.

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I started my visual art practice with photography after having completed a degree in linguistics. A photographer is someone who draws with light, writing and rewriting the world with illumination and shadow; a linguist is someone who scientifically studies language and its structure. I learned how visual meaning was constructed after I devoted myself to artmaking, realizing that perspective focuses everything on the eye of the beholder.

The blindness of earlier social understanding is the result of my addiction to the language in the making. Before I understood language beyond gender; social status, physical ability and disability, and cultural and national borders, I was viewing language purely as a tool for communication. My earlier work parses communication and miscommunication through various mediums and gradually evolves into language that speaks of the identity of minorities, in racial, gender politics, and geographic marginalization.

Sometimes it was Bible verses, which my grandmother who we called Nan or Nanny was forever scribbling onto scraps of paper and napkins. Those can be crushingly musical or excruciatingly dull. Like this scary live action thriller Disney made in the 80s called The Watcher in the Woods—the girl in it has visions and utters these simple little phrases: I like to play with the frankness of speech and the baroqueness of sound. Do you ever work collaboratively, especially with people outside your genre?

As you can probably tell, I spend much of my time working collaboratively. The resulting voice is, we hope, a collaged speaker—a bit of both of us, but also neither. Given how popular erasure has become, we wanted to draw attention to its act of silencing, which to us seemed a useful way to intervene into the history of male editors heavily manipulating and taking credit for the work of female authors. I am not a programmer myself, so my digital projects also draw on the expertise of others.

I have worked collaboratively with three poets: I also work collaboratively with Lyndon Barrois Jr. These projects come out of conversations we have and the places where we find overlaps in our work. With Phillip, in Conversation: Tree and Cottonwe merged his poem with my animation of black hair, some of it his own and some of it mine.

I work collaboratively with various artists, writers, designers and curators for curatorial aspect or as part of a program in predominately institutional-based project, which is very different from the collaboration that I had in my work. The desire to write in the English language is accompanied and nearly drowned by an opposite desire: As a person who reads written text fanatically almost like a disease, the entropic tendency of both wanting and resisting to composing a piece regarding written text has always been a driven force for collaboration.

The Apprentice 2013: meet the contestants – in pictures

It never happened easily, it almost always occurred as an accident, as stumble upon a piece of written text or a visual work and felt propelled to work with that particular person collaboratively. Cole Lu, For the Longest Time I Remembered, Two of my collaborative works are composed in the distance and also with artists who are mainly outside of my genre. I am currently working on a new video piece for future collaboration. I often collaborate with visual artists.

Harper has worked with this cache of cloud images that her mother, who suffers from Bipolar I, and I wrote a series of ekphrastic poems inspired by those images and my discussions with Jana about her relationship with her mother. I write a lot of ekphrastic pieces, and I work that way visually, as well. The sculptural installation Cleavemark Drive that I collaborated with Cheryl Wassenaar on was based on the poems in Cleavemark, so that wound up being a kind of double-ekphrastic.

Like a game of operator. I love the back and forth between artists.