Friday 6 June 2014
National Flash Fiction Day 2014
My short story, The Busker will be included in NFFD 2014 anthology, Eating My Words. In celebration of National Flash Fiction Day, there's a slew of events planned for Ireland and the UK. Further information available through the National Flash Fiction Day Blog and National Flash Fiction Day Website
Sunday 1 June 2014
Saturday 31 May 2014
Thursday 29 May 2014
Wednesday 21 May 2014
Saturday 26 April 2014
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.
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.
Friday 11 April 2014
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.
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.
Thursday 10 April 2014
the city is my boudoir
 |
| Eabha 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
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
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
http://settylepidapoetry.blogspot.ie/2014/03/the-strange-creature.html?spref=fb
watch her scuff with the paw and poke with the foot
the little schoffel
the fox-grape eyed, the mastering-chaos-mustering muscle
and bonewhat empathy for all your sins she carries
what well-deserving, bickering teeth she's got
lying beside
you in the bluish roomsnow 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
http://settylepidapoetry.blogspot.ie/2014/03/the-strange-creature.html?spref=fb
Monday 7 April 2014
Cut Up! - Oneiros Books
Friday 14 March 2014
The Illustrated Word
“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 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.’
It 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 (magicalexperiments.com) 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'.
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 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.’
It 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 (magicalexperiments.com) 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'.
Tuesday 11 March 2014
Cut-Up!
http://thinkbabymusic.com/node/247
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!
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!
Sunday 9 March 2014
Palavras/Words
https://www.facebook.com/photo.php?v=629856173752359
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.
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
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!
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.
THE EDITORS
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)
"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.
THE EDITORS
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!
Featuring
Kenji Siratori
Phishingera
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
DÃre McCain
Maddening Sun
A.D. Hitchin
Mindgasm!
Alex S. Johnson
The Ultimate Rock Star
Craig Woods
Her Fires Chill Me
Niall Rasputin
Poems
Mike Castro (mpcAstro)
Nidus Plexus: Immortal Fungus (an operotica)
Grady McShane (R.G. Johnson)
Poems
Younisos
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
Izumiya
Gary J. Shipley
From Necrology
Muckle Jane
Recipes
Cal Leckie
Poems
Spencer Kansa
from Zoning
Geoffrey A. Landis
Poems
Michael Mc Aloran
‘By the Maggots For…’
Ben Szathani
Wehrwolf DX13
Dexuality Valentino
Reflect on This
Eabha Rose
Poems
Joe Ambrose
Too Long A Sacrifice Makes A Stone Of The Heart /I Will Not Continence/Nothing to Hide or Loose
Robin Tomens
Poems
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
Poems
Dave Mitchell (D M Mitchell)
from Twilight Furniture
Robert Rosen
A.D. Hitchin
Split-Beaver
Muckle Jane
Shaking Spears
Sinclair Beiles
Letter
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
Jacurutu:23
Stay Out/Keep Out
Critical
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
Art
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.
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
DÃre McCain
Maddening Sun
A.D. Hitchin
Mindgasm!
Alex S. Johnson
The Ultimate Rock Star
Craig Woods
Her Fires Chill Me
Niall Rasputin
Poems
Mike Castro (mpcAstro)
Nidus Plexus: Immortal Fungus (an operotica)
Grady McShane (R.G. Johnson)
Poems
Younisos
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
Izumiya
Gary J. Shipley
From Necrology
Muckle Jane
Recipes
Cal Leckie
Poems
Spencer Kansa
from Zoning
Geoffrey A. Landis
Poems
Michael Mc Aloran
‘By the Maggots For…’
Ben Szathani
Wehrwolf DX13
Dexuality Valentino
Reflect on This
Eabha Rose
Poems
Joe Ambrose
Too Long A Sacrifice Makes A Stone Of The Heart /I Will Not Continence/Nothing to Hide or Loose
Robin Tomens
Poems
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
Poems
Dave Mitchell (D M Mitchell)
from Twilight Furniture
Robert Rosen
A.D. Hitchin
Split-Beaver
Muckle Jane
Shaking Spears
Sinclair Beiles
Letter
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
Jacurutu:23
Stay Out/Keep Out
Critical
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
Art
Billy Houlston (Billy Chainsaw)
D M Mitchell
Andrea Lulu
KJ Nolan
Gustavo Arruda
Dolorosa De La Cruz
Mary Beach
Claude Pélieu
Sunday 16 February 2014
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.
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.
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| photo : Karime Limon |
Thursday 13 February 2014
Thursday 2 January 2014
Thursday 19 December 2013
Sunday 3 November 2013
Thursday 31 October 2013
Tuesday 29 October 2013
Sunday 27 October 2013
CUT UP !
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.
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| Joe Ambrose, Jerome Alexandre, Nina Antonia, David Noone, Eabha Rose at Beat Hotel, Horse Hospital, London, April 2013 |
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| Antony Hitchin |
Enchantment
Words Undone ~ Enchantment
A trip down memory lane...some of my writings from my blog, Words Undone, which was my first leap into the world of online journaling. This piece is about poetic creation, pulling togther the threads of a secret language
A trip down memory lane...some of my writings from my blog, Words Undone, which was my first leap into the world of online journaling. This piece is about poetic creation, pulling togther the threads of a secret language
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| artist : Eabha Rose |
Into The Bardo - Defining Metaphysical Literature
Such a great essay by Niamh Clune featured in Into The Bardo. She speaks about 'reach[ing] to express the beauty inherent in us and in the world about us' ~ Defining Metaphysical Literature by Niamh Clune
Wednesday 23 October 2013
On The Plum Tree
on the plum tree
Thank you Plum Tree and Niamh Clune for featuring me in Poetry Corner. I am thrilled with the feedback and look forward to reading the words of future contributors.
The Wednesday Poetry Corner
WB Yeats by Irish artist, Paul McCloskey
Paul McCloskey Paintings Gallery
Thank you Plum Tree and Niamh Clune for featuring me in Poetry Corner. I am thrilled with the feedback and look forward to reading the words of future contributors.
The Wednesday Poetry Corner
WB Yeats by Irish artist, Paul McCloskey
Paul McCloskey Paintings Gallery
Into The Bardo
Into The Bardo
A wonderful piece of writing by Algerian poet, Imen Benyoub, with a very moving intro by publisher, Niamh Clune. Thank you Into the Bardo for the little mention and for sharing our collaboration. Thank you Trian Kayhatu for bringing it all together!
Saturday 5 October 2013
National Poetry Day
reading at Dean Crowe Theatre for Athlone Literary Festival on National Poetry Day, 3rd October 2013 ~ a memorable few days alongside Niall O'Connor, John Sexton, Michael Corrigan, Miceal Kearney, Amy Barry, Polly Munnelly, Declan Finneran and lots more new friends
Wednesday 18 September 2013
Thursday 5 September 2013
Wednesday 4 September 2013
Tuesday 13 August 2013
escape
that slice of light between bolt and flame
that shining star stretched slip to freedom
that cut-bright-road
glimpsed
that shining star stretched slip to freedom
that cut-bright-road
glimpsed
Monday 12 August 2013
Abbess
Abbess ~ Abadesa ☆`'•. ¸ * ☆ ゚ ☆ ゚ * ¸.
created using the beautiful photographic art of Brooke Shaden alongside my seascape photography. The music is Bach's Air on a G String (Music for Strings). This is dedicated to my friend, Karime Limon, whose art and words are so precious. Below is a link to some of Karime's work.
http://karimehologram.blogspot.ie/
created using the beautiful photographic art of Brooke Shaden alongside my seascape photography. The music is Bach's Air on a G String (Music for Strings). This is dedicated to my friend, Karime Limon, whose art and words are so precious. Below is a link to some of Karime's work.
http://karimehologram.blogspot.ie/
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| Karime |
Saturday 10 August 2013
windowpane
Vanilla lashes
something covertly began
spilled meteors
these windowpane clouds
disturbed winter mind
tethered years inside
© Eabha Rose
Monday 5 August 2013
entombed
under earthen bough
this wedding fanfare wild
steals inside
cradled embers
domed and tethered
by stolen rites
© Eabha Rose
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| photo : Brooke Shaden |
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