Feeding “deoxyribonucleic acid” into an anagram generator, one receives results like “a crucible decoy dioxin” and “a cubicle diced irony ox” and “a cubic code dioxin lyre” and “a bouncily dicier codex.” These lettristic recombinations fittingly suggest animals turned into conundrums on laboratory workbenches and harps made from humanly concocted chemicals playing geometric melodies and books sliced up into elusive components. This is tellingly ironic, as the science of genetics and the genre of bio-poetic art intersect most productively at the level of the malleable, protean Letter.
On a very rainy afternoon on the 18th of September, in a shared art space in Marrickville, Sydney (Frontyard), nine poets read their work: Astrid Lorange, Pam Brown, Alison Coppe, Emily Stewart, Yasmin Heisler, Holly Isemonger, catherine vidler, Dave Drayton and Nick Whittock. The reading was organized by SOd Press, an Australian small press focusing on radical poetics: a press begun by a.j. carruthers and now a collaborative project between myself and him.
Some artists cannot afford to believe that aesthetics are not inextricably tied to politics. In my final post of the series, I continue summarizing the significance of artists who, in giving expression to their visions of truth and meaning, ultimately resist normative discourses by refracting status quo representations of the world.
Female names dominate the dedications and acknowledgements of Emily Stewart’s book of poems, Knocks (Vagabond Press: 2016). The closing sentence of the acknowledgements section? “girl poets everywhere: this is for you.”To read Stewart is to be in the company of women. The launches of Knocks have so far embodied this sense of a poetry girl gang. In Sydney, it was launched by Pam Brown, with readings by Elena Gomez and Holly Isemonger (August 14, 2016).