Photo taken at Artists Against Apartheid concert by Mariel Rosenbluth.
The release of his most recent book of poetry, Magnetic Equator (2019), prompts my return to the spoken word and sound poetries of Montreal-based novelist, poet, and performer Kaie Kellough. When given the chance, I’ve thought publicly about Kellough’s work in other forums: a mini review of his performances here and a conversation we had about sound, technology, and ancestry here. Having just recently heard Kellough’s voice fill the atrium of the Art Gallery of Ontario at the launch for his latest collection, I was delivered back to the flows of joy and curiosity that I find his poetry and performances well within me. Kellough has a tendency to imagine the world as a conduit for vibratory pulses: “the rain forest is a mixing board with infinite inputs and outputs,” he writes in Magnetic Equator. His poetry is often located on paper, but it is written for sounding.
The release of his most recent book of poetry, Magnetic Equator (2019), prompts my return to the spoken word and sound poetries of Montreal-based novelist, poet, and performer Kaie Kellough. When given the chance, I’ve thought publicly about Kellough’s work in other forums: a mini review of his performances here and a conversation we had about sound, technology, and ancestry here. Having just recently heard Kellough’s voice fill the atrium of the Art Gallery of Ontario at the launch for his latest collection, I was delivered back to the flows of joy and curiosity that I find his poetry and performances well within me.
people arrived from portugal. people arrived from africa. people arrived from india. people arrived from england. people arrived from china. people predated arrival. people arrived from predation. people were arrayed. people populated. whips patterned rays into people. people arose. people rayed outward to toronto, montréal. people raided people. people penned the past.
Word-Sound-Systems
Further notes on Kaie Kellough’s vibratory poetics
The release of his most recent book of poetry, Magnetic Equator (2019), prompts my return to the spoken word and sound poetries of Montreal-based novelist, poet, and performer Kaie Kellough. When given the chance, I’ve thought publicly about Kellough’s work in other forums: a mini review of his performances here and a conversation we had about sound, technology, and ancestry here. Having just recently heard Kellough’s voice fill the atrium of the Art Gallery of Ontario at the launch for his latest collection, I was delivered back to the flows of joy and curiosity that I find his poetry and performances well within me. Kellough has a tendency to imagine the world as a conduit for vibratory pulses: “the rain forest is a mixing board with infinite inputs and outputs,” he writes in Magnetic Equator. His poetry is often located on paper, but it is written for sounding.
The release of his most recent book of poetry, Magnetic Equator (2019), prompts my return to the spoken word and sound poetries of Montreal-based novelist, poet, and performer Kaie Kellough. When given the chance, I’ve thought publicly about Kellough’s work in other forums: a mini review of his performances here and a conversation we had about sound, technology, and ancestry here. Having just recently heard Kellough’s voice fill the atrium of the Art Gallery of Ontario at the launch for his latest collection, I was delivered back to the flows of joy and curiosity that I find his poetry and performances well within me.