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Category Archives: Performance Poetry

Mentoring and Critical Appraisals

The Tears in the Fence editors now offer more Mentoring and Critical Appraisals in poetry, drama, performance, scriptwriting and voice work.

Playwright, Performance Studies Lecturer, and poet, Louise Buchler is offering Mentoring in Scriptwriting and Verse Drama under the same scheme. She has more than twelve years of experience lecturing in Writing for both Stage and Screen. She made the shortlist for the National Theatre London’s Africa Playwriting Competition recognising her as one of the top twenty playwrights on the African continent. Her plays have been widely performed. Her poetry has been published in Tears in the Fence and various publications in South Africa. Louise is also available for Performance and Voice coaching. Please email Louise at tearsinthefence@gmail.com

Poet, essayist and editor, David Caddy offers critical appraisals and mentoring in Poetry, Flash Fiction and Publication for other literary genres and projects. This involves taking a manuscript from first draft to publication, advising on where to send your work and the range of available options for a prospective poet and author.

Recent comments on their mentoring include:

‘The appraisals from David and Louise were thoughtful and precise. Their feedback ranged from specific matters of craft to the broader question of how I might take my writing forward. They responded to the work on its own terms and even picked up on recurring motifs and concerns I hadn’t been aware of myself.’ Phil Baber

‘David’s critical appraisals are immeasurably helpful. His work
towards my first full collection was immensely useful.’ Jessica Mookherjee

‘David’s close and perceptive reading of each poem, help with ordering and sequencing my pamphlet collections, and support with my first full collection has been enormous. I thoroughly recommend his critical and mentoring services.’ Geraldine Clarkson

For more details visit
https://tearsinthefence.com/mentoring

Grabbing Pussy by Karen Finley (OR Books)

Grabbing Pussy by Karen Finley (OR Books)

Performance Artist and poet, Karen Finley, creates for an adult audience and speaks up for those that are silenced or victimised. Her latest book, Grabbing Pussy, based on a performance piece, Unicorn Gratitude Mystery, combines Language and Beat poetry in a bravura display employing the deeply limited and limiting sexual vocabulary of recent American political discourse.

She begins with Donald Trump’s riposte to Senator Rubio’s implied link between his small hands and his penis: ‘if they’re small something else must be small.’

Of pussy grabbing the lack of penis backpack
The ability to men u strate
Takes-over-the-consciousness-of-everything-else state.

Grabbing Pussy focusses upon the psychosexual obsessions during the 2016 US Presidential election and before the MeToo campaign. Her poems, full of feminist humour and outrage, elevate and insinuate by manipulating found material around the language of philandering politicians and celebrities, centring on the misogyny of Donald Trump and his deliberate use of demeaning language and alternative facts for political advantage. Finley’s poems explore the sickness of this denigrating language and squeezes a series of nuances around what was said in a searing dissection of its sexual politics. This is framed within the wider perspective of an ideology that powerful men can do anything without being brought to justice and of an inadequate masculinity that leads to the assumption that a woman’s body is not her own.

I’m automatically attracted to beautiful [women] – I just start kissing them. It’s like a magnet. Just kiss. I don’t even wat. And when you’re a star they let you do it. You can do anything …”

Finley’s ‘Pussy Power’ poem is a rant at the white rich triumphant ego
turning the language back into itself with repeated phrases such as, ‘My time is spent grabbing pussy’, ‘Let me man up’, based upon the ‘I You We’
communication skills around ownership and leadership. She cleverly links this to sublimated desire and thus elevates the rant to art. ‘Let me grab some pussy / Bite off man’s naughty bits / and feel my small manhood, my small hands’.

Finley’s use of juxtaposition, repetition and disjunctive language is borne from writing more for performance than the page, and it is gloriously effective and literary, as in ‘She He’:

She He
She She She
Constantly referred to as the She
He said She She She
As if Hillary doesn’t have a name
The only She on the stage
The She Devil She Wolf
She did that
She didn’t do that
She needs to be stopped

Finley’s response to Trump’s verbal abuse of women in general as ‘fat pigs, dogs, slobs and disgusting animals’ deconstructs his words exposing his insouciance and belief that women should be punished for having an abortion, if made illegal, and is emphatic in its assertion of a woman’s right to own her own body. This is linked to his portrayal of Hillary Clinton as a cold, distant and crooked woman, his contradictory thoughts on migrants and support for statues commemorating idols of enslavement. She takes this a stage further by mixing the hate and misogynistic speeches and sexual politics into a montage of confused and contradictory direct speech with social and cultural asides implicating more discursive material. It is in the cut-ups, emphasising obsessions with hair and bodily functions, that the poetry moves beyond Beat rant to a more elevated and disjunctive place.

My kinky fetish
My kind of girl
That is why I have to be such a pig, for I really am a pussy
My head is my pussy
My sprayed wiglet, my merkin
I really want to be a Barbie
I want to be Ivana

There are memorable lines, such as ‘You pray at Trump Tower / Trump Tower is my Flower Power’, ‘Grab me some pussy / Let me woman up’, ‘I am Doris Day with Rock Hudson’, and so on that pepper the sequence with humour.

This is an impressive collection, with a trenchant reading of power that enables and legitimises attacks on women’s rights to their own bodies, becoming subtler and more nuanced with repeated reading.

David Caddy 15th June 2018

http://www.orbooks.com/catalog/grabbing-pussy-by-karen-finley/

Hannah Silva’s Forms Of Protest

Hannah Silva’s Forms Of Protest

Sound poet and playwright, Hannah Silva’s long awaited debut collection, Forms Of Protest (Penned in the Margins 2013), admirably illustrates the variety of her poetry. Her range encompasses sonic repetition, sonnet, collage, monologue, list, SMS messaging symbols, and probing text and is never predictable. There is a great sense of musicality and of contemporary language use. Indeed my sixth-form students love her work both on the page and read aloud.  One of our favourites, ‘Gaddafi, Gaddafi, Gaddafi’, echoes childhood playground chants, and works through its long, flowing, circular lines, as if on a loop, as much as the repetition of the word Gaddafi.

 

I am going to tell you my name Gaddafi but I am

Going to tell you my age Gaddafi my age is ten

Gaddafi and I am going to tell you about a game

Gaddafi a game that I play Gaddafi I play with my

Friends Gaddafi you can play it alone Gaddafi

Or play it with friends Gaddafi. GO into a room

 

Hannah Silva’s work positively blurs the edges between voice-in-performance, theatre and poetry. She is a contemporary sound poet of distinction, building on the work of Maggie O’Sullivan, Bob Cobbing and the neo-Dadaists, employing patterns of sense and sound in waves of overlapping textual layer that echo and stay in the mind. Her best work engages with political discourse exposing the limitation and mediocrity of its tropes as well as implicitly indicating the need for deeper communication, as in the long dramatic poem, ‘Opposition’. Here Silva’s playfulness finds full rein and her text cuts through the sense and sound of David Cameron’s ‘Big Society’ speech delivered on 19th July, 2010 at Liverpool Hope University.  https://www.gov.uk/government/speeches/big-society-speech

Liberalism it can call

Empowerment call it call it

Freedom can it can it

Responsibility (titty) can

I call it: ‘Er Ih Oh-ay-ih-ee’

 

Her work recalls Bill Griffiths’ poetry in its attempt to undermine the sources of political power and effectively allows the reader to hear the repetitions and patterns of political speech.

 

You can call it liberalism

You can call it empowerment

You can call it responsibility (titty)

I call: ‘Er Ih Oh-ay-ih-ee’

 

Her poems of direct speech, such as, ‘Hello My Friend’, ‘The Plymouth Sound’ and ‘An Egoistic Deed’ are as exciting as the cut-ups and broken speech. Reading through the collection one derives a sense of the Kafkaesque emptiness that is contemporary politics. This collection is in the great tradition of radical poetry and deserves to be widely read.

 

 

David Caddy 29th December 2013

 

 

 

 

Open Thread for Performance Poetry in the Guardian

Of all of the UK’s broadsheets, the Guardian seems to be doing the most to engage with poetry in all its forms. Now it seems to making space for “performance poetry”. Here’s a call out for your reviews via Twitter.

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