Thursday, 29 May 2014

They are awakened for the purpose of helping hundreds, thousands, possibly millions find their way. Their union is the truest form of love that will ever be. It is protected by God.

Wednesday, 21 May 2014

“The enemy is fear. We think it is hate, but it is fear.” 




~ face everything and rise ~

Wednesday, 30 April 2014

Eabha Rose Website  

have been updating my acting website - and it's starting to take shape

Saturday, 26 April 2014

Lost in Motion II

i found my true self through another, one who looks like me and feels like me and 
loves like me 

..and is that part that what you want?

all of it is true

Thursday, 24 April 2014

Earlier this month, I had the pleasure of interviewing John Joyce for the forthcoming first anthology from Poets and Writers for a Different World Movement. During our meeting, we discussed John’s observations on the journey Irish art and literature has taken since the publication of his granduncle’s novel, Ulysses, and also John’s own work within the field of literature and music. These are some of of the more memorable observations from our meeting :

In holding a mirror up to society of the early 1900’s, [Joyce] explored what was really going on in terms of a country reputed to have had the biggest red light district in Europe at that time (this region of Dublin was immortalized in the ‘Circe’ chapter of Ulysses) as well as highlighting a society troubled by alcohol misuse, an issue we continue to trivialize

Dedicated to recording human nature with as much authenticity as possible, [Joyce] believed if he could get to the heart of Dublin, he could get to the heart of all the cities in the world. When Joyce first held up the nicely polished mirror, people didn't like it, and this discomfort was certainly to blame for the early rejection of his work.

Dublin has a remarkable literary heritage for a relatively small European capital, and Joyce as a forerunner in experimental writing, stretched the stylistic possibilities of the English language to their limits. He was attuned to the music of language and used this talent to cross frontiers. He took delight in playing with his medium. In combining the mythical with the absurd and using stream of consciousness, Joyce had a profound impact on future generations of writers and indeed his influence continues to make itself known.

Rooftop ~ Poetry

Tuesday, 15 April 2014

Doves of Beirut

written by Silva Zanoyan Merjanian, read by Eabha Rose
(first published in The Original Van Gogh’s Ear Anthology)
The Original Van Gogh's Ear Anthology 

Doves were arrogant in those days
feral, territorial of ledges.
I hadn't snapped their necks yet
Through grind of metal
on bone, stone
through air sharpened on greed hones

no scream left in punctured lungs
fate duct taped to fetal nights
barricaded behind shadowed ribs
that hardly rose for a fight
underneath rubble of lord's prayer and adhan

they pecked at concrete
heads bobbing - waiting
they knew I'd come
they knew I'd tire of walking
your curved dead -end streets
I knew those ledges well
gravel and loose feathers
wet with rain
stuck with white droppings
to my young toes curled on grit
but I knew your streets below better
lick of diesel on asphalt
grief's iron reek in gutters rising
damp alleys breathing
the way the old do
those who'd seen the blade
cut through flesh
a sigh every third inhale
a pause before funneling
jasmine and mold laced gasps into patched veins
tied to the stone
tied to throbbing ground
with historical claims,
to the sea breeze
that couldn't cool their burns
still rummaging for life
as they used to remember it

I walked on sweat of fig trees
on your sidewalks bleeding at cracks
when you had the pigeon for dinner
and I starving, gnawed on bones
where I'd tied my message
pleading for your unclutched claws
on my debt
I hear you like your whores younger these days
and you rather have your sons as killers
blind and foaming revenge at mouth
darbouka between their knees dropped for guns
streets mapped in bite marks
on time I served now dyed ash blond
I look away
the way the old do
eyes on the distance to your bleeding ledge

Friday, 11 April 2014

The Illustrated Word

To watch a piece of poetry come to life through performance has to be one of the most exhilarating experiences for a writer. My recent experience of watching this transition from one art form to another was like watching my imagination come to life. It certainly helped that the actors I was working with shared my hopes and goals for the characters. In carrying them into this new space, the actors brought with them the characters’ backstories and life experiences, played out through sound, movement and interaction.  My make-believe friends began to materialize before my eyes.  The more they did, the more I realized that these personalities are all elements of my own. I am never free from my text in the same way an actor is never free from the character they are living and breathing through. Each is dependent on the other for life.

Towards the end of the day, one of the actors, who is also a friend of mine, howled in exasperation after spending an hour shooting a scene in which his accomplice is leaning over a toilet bowl as he holds up her hair. ‘Trust you to write something like this…’ he said to me.

All in the name of art.

The following video is a reading of poet Silva Zanoyan’s poem, ‘Choices’. I chose this because I realized as I set out to record ‘Choices’ the importance of the relationship and understanding between poet and narrator. They too share an historic journey.

architecture of meaning

Montreal author Nicole Brossard's book of poetry (translated into English is entitled Notebook of Roses and Civilization), Cahier de roses et de Civilization, explores the movement of language and gender through language and the lyric abstract in both French and English. 

What is it about her language that overcomes, like a slow wave, sweeping in and drowning you? What is it about her language that makes you welcome the process of being overcome?

..once again the exact time the street
the cigarette we don’t light
again the time the sex of lips
existence silence that deafens
another metamorphosis
arms open

'The heat of summer on an earlobe, a parking meter, the shadow of crabs and pigeons under a cherry tree, an olive, a shoulder blade - In the poems of Nicole Brossard these concrete, quotidian things move languorously through the senses to find a place beyond language. Taken together, they create an audacious new architecture of meaning. Nicole Brossard, one of the world's foremost literary innovators, is known for her experiments with language and her groundbreaking treatment of desire and gender. This dexterous translation brings into English, with great verve and sensitivity, Brossard's remarkable syntax, sadness, and sensuality.'

Brossard's book does not include the French text, but the two translators, 
Rober Majzels and Erin Moure are experienced and the monolingual writer can trust them. The language moves confidently, flowing without obvious transitions over a range of themes: beauty, love, language, war. The rose is associated with nature and passion, civilization mostly with war and power. Three "Softlinks," prose poems dispersed throughout the book, offer the reader some ways into the meanings of the elusive lyrics that make up most of the work. Brossard is perhaps referring to the SoftLink library automation systems: libraries, repositories of the word, contain much of what is good in civilization. The outer world, the poems tell us, is not only a world of natural beauty but also the realm of men with "eyes of Kalashnikovs." 

The second "Softlink" decries the power of men in white shirts who traffic in weapons, and trade women and children. This is the darkside of civilization. Yet the urban, the core of civilization, can be associated with the erotic: the speaker remembers the '80s in Chez Madame Arthur, a famous Paris nightclub where "women wrapped their arms around / nights of ink and dawn."

If there is any resolution of the dichotomies of the rose and civilization, it lies in the words, which are treated in "Softlink 3" not as mere signs but as real entities. Any word, any language. In a passage that calls to mind Rilke's "Ninth Duino Elegy," which says we are here to affirm being through words, Brossard summons up the sorts of words that drive and haunt us: names of places and people, of cherished objects, words of pleasure and pain, words that "shoot up before our very eyes like cloned shadows replete with light and great myths." The word is entangled with civilization and its discontents, but also preserves and exalts the realm of the rose.

Tuesday, 8 April 2014

This is a little late but very proud and wanted to share! Paul's exhibition at the Agora Gallery took place between January 14th and February 4th. It was a huge success and the feedback has been wonderful. We are so proud of him.

Here is Agora's write-up as well as a pic from opening night!

'As he creates images infused with the purity of the moment, Paul Hartel paints with a playful sense of freedom and an energetic vibrancy. His paintings surge with an expressively joyful abstraction, filled with explosive movements of color and texture, at times referencing reality with elements of figures and scenes as he brings to life a rhythmic spontaneity and raw dynamism. Throughout Hartel’s art one discovers a celebration of the inner child, as he makes the subconscious visual with an interpretive jazz styling. Building his works in oil and acrylic paints on canvas, Hartel occasionally adds charcoal and uses a variety of tools and techniques to apply his mediums, including pouring, scraping, and his fingers.

Raised in upstate New York, Paul Hartel has lived throughout the United States and Ireland and now resides in West Virginia, where in addition to his career as an artist and photographer, he also works as a physician specializing in pathology. He has achieved a Master’s degree in Psychology and Medical Science as well as his Doctorate in Medicine.'

the strange creature

is she the lone hunter the mammal of the dog family but not quite

who tips on snowed benches
watch her scuff with the paw and poke with the foot
the little schoffel 
the fox-grape eyed, the mastering-chaos-mustering muscle and bone
what empathy for all your sins she carries
what well-deserving, bickering teeth she's got
lying beside you in the bluish rooms
now go now, choo
the fur will soon be changing into reddish-brown
spring on the way, muzzle up _ roll up and sail secure

(for Carol)

This heart wrenching piece of poetry is from the blog of Setty Lepida

Monday, 7 April 2014

Thank you, photographer, Michaela Alex for your patience and enthusiasm. This is one of my favourites!

Cut Up! - Oneiros Books

delighted to have two poems included in this new anthology available through the following link -

CUT UP! An Anthology Inspired by the Cut-Up Method of William S. Burrough, Brion Gysin

Edited by A.D. Hitchin, Joe Ambrose
In Paris in the late Fifties the Beat Generation writer William Burroughs and his sidekick Brion Gysin developed the cut-up method. It involved taking a piece of finished text and cutting it into pieces – then rearranging those pieces to create a new text or work of art. Burroughs wrote that: “When you cut into the present the future leaks out.” The cut-up had a profound effect on music, writing, painting, and film. Devotees of the cut-up include David Bowie, Radiohead, and Kathy Acker. In addition to bringing together new work by new people, CUT UP! also salutes some better known 20th Century voices who kept the spirit of Burroughs and Gysin alive.

Contributors include Kenji Siratori, Claude Pélieu, Nina Antonia, Billy Chainsaw, Cabell McLean, Mary Beach, Marc Olmsted, Allen Ginsberg, Spencer Kansa, Michael Butterworth, Robert Rosen, Nathan Penlington, Sinclair Beiles, Gary J. Shipley, D M Mitchell, and Edward S. Robinson

“Burroughs used the cut-ups to write beautiful poetry, or he would cut up his friends’ personalities and see what emerged. The cut-ups are the runway to the magic universe. Everybody should cut their lovers up for better sex. Everyone should get themselves CUT UP!”

Victor Bockris, author of Transformer – The Lou Reed Story; Andy Warhol – The Biography

“Since Gysin sliced the papers and with Burroughs saw the realm of the possible, the cut-ups have always been essential as experiments across all media. This volume returns to theories, texts and images; it looks back, looks forward, and cuts.”

'This Is Not a Review' - Robert Rosen on CUT UP!
'A word of caution to those with delicate sensibilities: Phrases such as “corpse fetish pussy gangbang” (which I’ve cut from Siratori’s “Phishingera”) occur with frequency.
More adventurous readers, however, may argue that they do not occur frequently enough.'

- Robert Rosen

Read the full article here:

Friday, 28 March 2014

The Illustrated Word ~ Flash Fiction

One of the first known usages of the term "flash fiction" as a literary style was in the 1992 anthology Flash Fiction: Seventy-Two Very Short Stories, edited by James Thomas. The term "short story" was the most common term until about 2000, when it was truly overtaken by "flash fiction".

In China, the style is often called "smoke long" or "palm-sized", with the comparison being that the story should be finished before the reader could finish smoking a cigarette.

There is no widely accepted definition of the length of the category; however, many publishers impose caps as low as three hundred words, while others consider stories as long as a thousand words to be flash fiction.

There is something very satisfying about working to condense a text into a few hundred words, paring and cutting the narrative while staying true to the story.

One of the most famous pieces of flash fiction is Ernest Hemingway’s six word story (he considered it one of his best works). It simply reads - For Sale: baby shoes, never worn.

Friday, 14 March 2014

The Illustrated Word

by Eabha Rose 

(share from Plum Tree site)

“The deep parts of my life pour onward, as if the river shores were opening out. I feel closer to what language can’t reach. With my senses, as with birds, I climb into the windy heaven… in the ponds broken off from the sky..” Rainer Maria Rilke

I was reminded of this powerful Rilke quote when I reflected recently on my teen years and the hours spent making soundscapes through cutting up songs and pieces of music and stringing them together to create something new. I now see that it was an attempt at reaching beyond the arrangements, breaking them apart and rebuilding them with the teenage dream of touching the mystical and finding new meanings.

‘At fifteen, my passion was creating my own music cassettes, recording my favourite bands and (as teenagers do), playing them over and over until I knew every word and note by heart. I started to experiment with cutting up pieces of music and sound and static and creating audio stories. I would use people’s voices, household sounds, traffic sounds and string them together. The stories for me were mostly built around spirits and visits from other realms. In a sense, I conjured up stories and then built sci-fi soundscapes around them. I think I hoped that in some way my creations would open a portal through which I would be inspired and maybe even informed. I suppose I was looking for messages and of course for escape.’

t is a process I was to later return to using the cut-up technique whereby pieces of text are cut up and re-arranged to create a new piece of work. It was used by Dadaists of the 1920s and was popularized in the late 1950s and early 1960s by writer William S. Burroughs, and has since been used in a wide variety of contexts. Gysin introduced Burroughs to it at the Beat hotel and later, together, they applied the technique to printed media and audio recordings. Bowie also experimented with it. Burroughs was one of many artists who gave it a mystical quality. He saw it as a form of divination, saying, "when you cut into the present, the future leaks out'. Artist Taylor Ellwood ( talks of the process as a ‘rewrite of reality’ - 'First I’d cut-up the conventional reality that had already been created, and then reform it into my own collage message to the universe, complete with a reformatted space and time. The universe has always been kind enough to respond'.

With renewed fascination, I travelled to London's Horse Hospital last year and met writers and artists, Joe Ambrose, Antony Hitchin, Nina Antonia and Jerome Alexandre whose interest in the technique inspired Cut-Up! - an anthology featuring new and historic cut-ups.

During last years Tom Cat Festival in Limerick, Mikael Fernstrom and Sean Taylor of Soft Day recorded my cut-up poetry during a live improvisational performance at Dr John’s, accompanied by flautist, Niall Keegan and sound artist, Robin Parmar. It was a particularly interesting experiment in that we were actively involved in the process of interpreting and recreating words and music live.

Below is a little excerpt from Soft Day’s, Amhrán na mBeach (Song of the Bees), and as explained by Soft Day, is 'based on four years of scientific data about bee diseases and colony losses in Ireland. Soft Day created musical scores for the Glenstal Abbey Choir, organ and the Irish Chamber Orchestra. A sound art composition was also created by the Softday Apiary Ensemble, based on field recordings carried out by the participating beekeepers in their respective habitats'.


Tuesday, 11 March 2014


two of my poems are sharing the pages with some incredible writers and artists in this new anthology, inspired by the cut-up method. Published by Paraphilia/Oneiros Books, Cut Up! is edited by Joe Ambrose and Antony Hitchin and is now available through above link!

Art Undone

Art Undone

above is link to Art Undone's webpage

Sunday, 9 March 2014

The body is the last to forget,
.....and to forgive

(J.C. Fontes)


Lapidadas e esculpidas e depois já em chamas
elas se nutrem de luz e ar, de terra e água
e o que pesam não as comprime nem limita.
Com uma verdade de voar distante,
elas então (es)correm de você para mim
camufladas no toque suave do verso
propagando-se em tempos sem tempo,
por céus atemporais.
Elas, palavras, deslizam e se prolongam,
até ficam cambaleantes sob a chuva
perdem-se em um acolchoado de nuvens
e dali se transformam em luz do sol.

by Eabha Rose - translated for O Ecuador das Coisas 

do what you love

Saturday, 8 March 2014

From Brazil and Beyond

I'm delighted to be a new columnist with a literary journal I have so much admiration for - O Ecuador das Coisas, edited by Carol of Art Brazil. Issue #4, soon to be here, features amongst its myriad of suprises, art editor Toni McConaghie's beautiful work as well as Didi-Huberman's exquisite account of  'what we see only lives in our eyes through what we see'. There's an exclusive interview with Angolan writer, Jose Eduardo Agualusa whose novel, The Book of Chameleons (translated by Daniel Hahn) received much praise from both The Independent and The New York Times.

O Ecuador das Coisas is truly an international journal brimming with art and culture!

Friday, 7 March 2014

Sara Rauch: A Taste of the Writer's Life

This is a beautiful vid...filled with honesty and awareness! I am so proud to have shared the pages with Sarah in Brazil's O Ecuador das Coisas, edited and translated by the brilliant Carol of Art-Brazil. Wishing you all the best with the latest edition of O Ecuador das Coisas, Carol!

Wednesday, 5 March 2014

Tuesday, 4 March 2014

Cut Up!

I am thrilled to have two poems included in this fantastic anthology, out today! Published by Paraphilia/Oneiros Books, it features some stunning artists and writers and is edited by Joe Ambrose and Antony Hitchin.

"The Cut-Up Method was 'invented' by the artist Brion Gysin and popularized by his friend William Burroughs. It had roots in Dadaism, whose Tristan Tzara threatened to create a poem by drawing random words from a hat. 

Creating a Cut-Up involves taking a given text and cutting it into single words, sentences, or paragraphs. The cut up texts are then rearranged by the artist – the creator of the new work.

This groundbreaking anthology features new and historic Cut-Ups by new and established artists, such as Cabell McLean, Dave Mitchell, Matthew Levi Stevens Kenji Siratori, Joe Ambrose, Gary J Shipley, Christopher Nosnibor, A.D. Hitchin, Niall Rasputin, Alex S. Johnson & more to be announced.


Joe Ambrose organised a Cut-Up event in London in April 2013 featuring new writing, film, and art. The author of 14 books, he has worked with Anita Pallenberg, Lydia Lunch, Gerard Malanga, William Burroughs, Marianne Faithfull and The Master Musicians of Joujouka. The Guardian has described his fiction as 'Unputdownable.' He divides his time between Tangier, Morocco and his native Ireland.

A.D. Hitchin is a contemporary practitioner of cut-up. His cut-up poetry was featured at the 'Cut-Ups @ Beat Hotel' event in 2013 and discussed in the academic text ‘Shift Linguals: Cut-Up Narratives from William S. Burroughs to the Present’ as well as at the Textual Revolutions Conference at the University of Stirling in 2009. Hitchin's debut book of cut-up, 'Messages to Central Control,' is available from Paraphilia/Oneiros Books." ( via Cut Up! FB page)

Wednesday, 19 February 2014

seven nova: moment

words and music of Seven Nova, who reminded me to share everything but still keep secrets ~ 'mathematically music can create this pure state of balance, which may feel programmed, creating a sense of immaterialism, pure forms, universals, the intangible.. but in doing so I do not sense the curvature of time, which is more elliptical and which (for me) feels more apparent when music has slightly offset undulating patterns and also rhythyms which "swing." .. classical music doesn't swing eighth notes, which despite elegant perfection also (to me) feels cold in a very fundamental way - I like this coldness though, at times, certain moods, detachment, subtle body projections, ungrounded.. zooming out, I imagine the gravitational force of a planet as it circles its sun, unable to break free from its orbit and spinning tens of thousands of miles per second on its axis, counter-opposing forces, somehow preventing the end of eternity, at least until self-destruction or the final event horizon - supernovae...'

Cut Up!

I am thrilled to be part of this stunning collection of artists and writers. Good work Joe Ambrose and Antony Hitchin and all who feature in this anthology!


Kenji Siratori

Jacurutu Scarry Garry-Shinigami Twenty-Three
The Worst Deadly Bank Account Number in the History of the Universe
Michael Butterworth
Trial At Centre Time Ox
Joe Ambrose
The Life and Death of Muammar Gaddafi
Gary J Shipley
from Spook Nutrition
Christopher Nosnibor
Flickering images: life-size shadow-puppetry
Nathan Penlington
Reply With Your Own Virus Checks
Matt Leyshon
Evil Dreams on a Green Baize Table
Díre McCain
Maddening Sun
A.D. Hitchin
Alex S. Johnson
The Ultimate Rock Star
Craig Woods
Her Fires Chill Me
Niall Rasputin
Mike Castro (mpcAstro)
Nidus Plexus: Immortal Fungus (an operotica)
Grady McShane (R.G. Johnson)
Self Cut-Up in Tangier
Lee Kwo
Oublier the Suicide Protocols of Warp Paradox Factor/Entail No Response/
Cabell McLean
Down by Dull
Gary Cummiskey
From April in the Moon-Sun
Marc Olmsted
Plotinus Processes
Chikuma Ashida
Gary J. Shipley
From Necrology
Muckle Jane
Cal Leckie
Spencer Kansa
from Zoning
Geoffrey A. Landis
Michael Mc Aloran
‘By the Maggots For…’
Ben Szathani
Wehrwolf DX13
Dexuality Valentino
Reflect on This
Eabha Rose
Joe Ambrose
Too Long A Sacrifice Makes A Stone Of The Heart /I Will Not Continence/Nothing to Hide or Loose
Robin Tomens
Wayne Mason
Sidewalks to Buddha
Persiphone Hellecat (Charie D. La Marr)
The Lady and the Panther
Paul Hardacre
Bleak Venus: we could not have conceived it to be fire
Larry Delinger
A Cut-Up Story Tale
Paul Hawkins
Dave Mitchell (D M Mitchell)
from Twilight Furniture
Robert Rosen
A.D. Hitchin
Muckle Jane
Shaking Spears
Sinclair Beiles
David Noone
Is the Doctor in?
Joe Ambrose
Deep Ellum
Aad de Gids
Cut-Up of Valerie Solanas’ Manifesto S.C.U.M. (Society For Cutting Up Men), 1967 and Tristan Tzara’s Dada Manifesto, 1918
James Coffin (James B.L Hollands)
Tokoloshe recites the Litany of Britain
Gary J. Shipley
from Theoretical Animals
Lucius Rofocale
Ne/urantia: Close Encounters of the Third Mind
Stay Out/Keep Out


Edward Robinson
The Cut-Ups – Fade In 21st Century
Kirk Lake
Breaking The Timeline: The Collage, the Combine, the Cut-Up and the Sample
Matthew Levi Stevens
Disastrous Success: The Other Method of the Cut-Ups
Gareth Jackson &
Michael Butterworth
Conceptual Radial Literature Device
Allen Ginsberg
Notes on Claude Pélieu
Nina Antonia
The Master and Michele – A Magickal Memo
Peter Playdon
Severed Heads Speak


Billy Houlston (Billy Chainsaw)
D M Mitchell
Andrea Lulu
KJ Nolan
Gustavo Arruda
Dolorosa De La Cruz
Mary Beach
Claude Pélieu
 — with Joe Ambrose and Oneiros Books.

Monday, 17 February 2014


The connection is entirely of the heart. From childhood, it is there as we write or paint, inside that quiet doorway we enter, the other side of us. Later, it exists within those time stopping moments of togetherness where ancient memories are released through touch and sound.

I read that love is something your spine memorizes and there is nothing we can do about that.

We should never wish to forget.

beads of prayer, these
threads of lace,
knots of pearl

(e/r © )

Sunday, 16 February 2014

from 'Embalmed' with Ring Master, Phil Lee - developed from a series of cut-up poems and first shown at DADA Film Festival, Denver in 2013, the project will continue as a series of performance pieces.

Saturday, 15 February 2014

At fifiteen, my passion was creating my own music cassettes, recording my favourite bands and (as teenagers do) playing them over and over until I knew every word and note by heart. I started to experiment with cutting up pieces of music and sound and static and creating audio stories. I would use people’s voices, household sounds, traffic sounds and string them together. The stories for me were mostly built around spirits and visits from other realms. In a sense, I conjured up stories and then built sci-fi soundscapes around them. I think I hoped that in some way my creations would open a portal through which I would be inspired and maybe even informed. I suppose I was looking for messages and of course for escape.

A year later, I had my first experience of plant magic. The experience seemed to burst open portals. I remember lying on the grass with my boyfriend, watching the stars and feeling so connected to the universe. Holding hands, we talked as much as we could about art and philosophy and love. We spent that night lying together under the stars, trying to decode all of the secrets of the cosmos. Interestingly, I had a vision of a cityscape and a small loft apartment. The vision had been so intense that the following day, I drew a picture of it. Three years later, I found myself living in that apartment in New York. A lot of synchronicities happened for a couple of days after that experience. As is often recorded, colours, tastes, sounds had all been more vivid and in harmony.

The experience was replicated some years later without any mind altering substances. Again, synchronicities abounded as did the feeling of connectedness with the cosmos. This time, it was accompanied by an awareness that there is a balance, a harmony that can only be found through staying in the heart.

photo : Karime Limon

Friday, 17 January 2014

The Illustrated Word

Art Undone started out as a blog, a venture into the online world of 'self disclosure'. Strange how who we can feel compelled to share intimate details from our lives in this way, far more intimately than we may be inclined to do in our day to day physical world. Perhaps, there's less fear of rejection, of judgment. We can filter what we like, create a 'diffused intimacy' with the reader; and yet, this form of sharing allows us to exorcise our demons. 

As a narrative therapist, much of my focus is on supporting people in the development of life story books, of bringing together, words, images, music to help build upon each person's unique experiences and to set out, in multi-media or book form, a life story, one that can continue to grow and change as new memories emerge and as new experiences are lived. We can revisit our past, contemplate our present and plan for the future. Some time after setting aside my Art Undone blog, I was invited to revisit it by Indonesian-Dutch composer, Trian Kayhatu, and, together we decided to put the words/experiences to music. To say this was a transformative experience is an understatment. It was a process we both derived much personal satisfaction from and it was the beginning of new journeys within our individual life stories. It's one I hope to continue to chart through words and music and as a contributor to Plum Tree Books. Below is a short piece called Repose, from the Art Undone Project, put to music by Trian Kayhatu.

Thursday, 2 January 2014

photography - Phil Lee

image from short film, Embalmed, playing 'Elsa'. film was directed by Phil Lee.

un souffle qui parcourt le dos
une caress qui dessine l'amour
un baiser de douceur
et d'emotion le long du corps
un instant magique

photography : Phil Lee

Thursday, 19 December 2013


Season's Greetings

Thursday, 31 October 2013


The moonlight cast damp
the blue dusk air,
swept it dark,
collected foam
beneath its arches,

Eabha Rose ©

The Ghost Ship - Second Life

Sunday, 27 October 2013

from short film currently working on with Ring taken at Bray Head, Co. Wicklow


thrilled and honoured to have cut-up poetry featured in this new anthology, which also includes the work of Robert Rosen, Mathew Levi Stevens, Nina Antoina, DM Mitchell, Nathan Penlington, Jacurutu Scarry Garry Twenty-Three, Edward Robinson and David Noone, to name but a few. The anthology is edited by Joe Ambrose and A.D. Hitchin. An international book launch is planned for Dublin in November, with Inshallah, subsequent launches in London and Paris.

Joe Ambrose, Jerome Alexandre, Nina Antonia, David Noone, Eabha Rose
at Beat Hotel, Horse Hospital, London, April 2013

Antony Hitchin