Category Archives: Women’s Experimental Poetry

SPIRALS: a multilingual poetry and art book edited by Hari Marini & Barbara Bridger (Tears in the Fence)

SPIRALS: a multilingual poetry and art book edited by Hari Marini & Barbara Bridger (Tears in the Fence)

This interactive book, edited by Hari Marini and Barbara Bridger, and artfully designed by Westrow Cooper, celebrates a ten year project created by the Part Suspended Artist Collective, and is available from

https://tearsinthefence.com/pay-it-forward/ 

SPIRALS, a collaborative multidiscipline, multilingual project involving artists with a shared feminist perspective, spanned a decade of activity from 2013-2023. Using the symbol of a spiral as an inspiration, a series of performance rituals, artistic interventions, performance writing, audio-visual manifestations, online projects, exhibitions, and theatrical events took place in the UK, Europe and beyond.

The book is divided into three parts. The first part explores time, topos, arrival and longing. The second part considers isolation, Covid and Women’s writing, spirals, circles, galaxies, turning points and breath. The third part features the SPIRALS open archive and selected contributions to that archive from 2022. Lockdown, with its enforced period of contemplation, and the associations of spirals as a geophysical feature serve to contextualise the juxtapositions of different languages and cultures within a common humanity. The work is profoundly ethnographic, feminist, and celebrates a togetherness and unity as opposed to division and conflict at a time when populist nationalism began to widen its appeal.

Involving poets, translators, and artists from throughout Europe, SPIRALS transcends the constraints of linear time and space, spiraling in and out of temporal boundaries. It initiates conversations that traverse waking and dreaming realms, navigating through cityscapes and landscapes, and forces the reader to think and feel more laterally. The interplay between interiority and exteriority creates a tapestry that invites contemplation and engagement through time and space. As Niya B writes in the poem, ‘an end and a beginning’:

every   seed    carries its own    memory

every   skin     carries its own    history

every   body   carries its own    weight

every   step    carries its own    intention

every   soil      carries its own    dead

The anthology includes a series of QR codes enabling the reader to access videos and other documents from a tapestry of collaborative events during a tumultuous decade. SPIRALS offers a ritualistic probing of origins, naming and time through the cycles of birth, life and death, ethnographic and archival materials, appendices, editorial notes, preface, and colour artwork. It is a joy to read.

Amongst the contributors are Niya B, Suparna Banerjee, Barbara Bridger, Sarahleigh Castelyn, Sally Pomme Clayton, Noèlia Diaz-Vicedo, Georgia Kalogeropoulou, John London, Erini Margariti, Hari Marini, Simon Persighetti, Nisha Ramayya and Beatriz Viol.

David Caddy 10th July 2024

British Women’s Experimental Poetry

British Women’s Experimental Poetry

 

Women’s Experimental Poetry in Britain 1970-2010: body, time & locale

by David Kennedy and Christine Kennedy,

Liverpool University Press.

The opening chapter to this important book makes no compromises and takes no hostages: ‘There is, then, a large body of women’s experimental poetry in Britain that has never received its critical due and continues not to, with the result that it is forever in danger of being forgotten or overlooked.’ Very appropriately this statement is followed by a quotation from that splendid survey of new British poetries which Robert Hampson and Peter Barry edited for Manchester University Press in 1993 with its subtitle ‘The scope of the possible’.

This whole book is a serious survey of what needs to be more widely read and the poets looked at range from Veronica Forrest-Thomson and Wendy Mulford (both with their Cambridge connections from the early 1970s with the publication of Language-Games in 1971 whilst working on modern literature at Girton College and the founding of Street Editions in 1972)

to

Geraldine Monk’s ‘recognition of common humanity, emotional geography, other selves and historical echoes’ which ‘are crucial to the book-length sequence Interregnum.

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Denise Riley’s related questions concerning how the self is to be given language and the provenance of the words used. In this chapter Clair Wills is quoted as suggesting that the Reality Street publication Mop Mop Georgette is ‘an extended meditation on what is inside and outside the self, and the purpose of lyric.’

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Maggie O’Sullivan’s reading of ‘To Our Own Day’ which left Charles Bernstein with the experience of each listening bringing ‘something new, something unfamiliar’ and wondering at how ‘such a short verbal utterance could be so acoustically saturated in performance.’

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Caroline Bergvall, Elizabeth Bletsoe, Andrea Brady, Jennifer Cooke, Emily Critchley, Elizabeth James, Helen Macdonald, Anna Mendelsshon, Marianne Morris, Redell Olsen, Frances Presley, Sophie Robinson, Harriet Tarlo, Carol Watts.

This is an expensive book (£70) but I gather that it is to be reissued as an e-book. In the meantime badger your library to get hold of a copy; I promise that you will not regret reading this remarkably clear account of what has needed to be pulled together for far too long. To refer back to the beginning and to Veronica Forrest-Thomson it seems quite appropriate to quote from J.H. Prynne’s words placed at the end of the Street Editions 1976 publication of On The Periphery: ‘With great brilliance and courage she set fear against irony and intelligible feeling against the formal irony of its literary anticipations.’

Ian Brinton January 2nd 2014