Welcome to the second issue of the Burning Bush 2. As in issue one, you will find a selection of poets well known, hardly known and almost unknown. As before, we have British and American writers who, although well published at home, might not be familiar to Irish audiences and, likewise, we have a number of Irish poets who will probably be new to readers outside Ireland. We have writers with prizes and collections under their belt mixing it with writers who are just starting out. This is good; we all learn something.
Like any new publication, our aim for the Burning Bush 2 is to extend its reach with each issue. While we spread the word on social networks and our website, a lot depends on the magazine building up an involved community, people who not only submit their work to us but who simply want to read each issue. So, please continue to send us your work but remember also that poets, and poetry publications, need readers. Tell your friends, tell your family, tell your psychoanalysts and confessors: read this, I’m going to be in it!
Most of the readers that we already have, judging by the stats on our website, are located in Ireland and the USA. We’ve had a number of American writers in issues one and two and I’m fairly sure most of them are new to most of our Irish readers. To return the favour across the ocean, and because we’re based in Dublin, in issue number three we will feature poetry from emerging (and recently emerged) Dublin writers. By Dublin writers we mean, of course, anyone who calls it home.
The city by its nature changes always and Dublin is no different: it is at once what it was but also something that it has never been before. It is a thousand years old and it is absolutely new. It is a small medieval town overlooking the sea and sprawls of concrete seeping deeper into the hinterland. It is the engine of the country but it has no nation: its identity is the people in it and, as always, they are various. Although at times small and carnivorous, this is where we congregate and as Ireland seems to suffer death by a thousand cuts, it can be the vital sign that says no, we are not dead yet.
So, show us what you’ve got: send word from the squares, the courtyards and cobblestones, from the stairwells and pram-sheds, from the concrete blocks and suburbs, from the centre and from the edge, from the housing estates clinging to motorways, retail parks and the nooks and crannies of vacant technology campuses. Send us the new, the multi-lingual and the ultra-cultural. Remember it should be good, it should be sharp and it should be genuine. Most of all it should be alive.
Alan Jude Moore