August saw the five-year anniversary of Lauren Kaye’s ‘I’m All In’, a poetry collection described as a ‘seductive collection of romantic and sensual poems that speak on the inevitable episodes of love, sex and relationships’. The occasion was marked on social media – at a time where artists are forced to be more resourceful than ever when the stage is taken away. As Kaye outlines in the introduction, her poetry ‘is written much how I speak’, and it is best to have seen her live or see live videos so you can then hear her voice as you read coming through the pages.
Clothing, fashion, and perhaps particularly dresses, are often seen as insignificant. Arguably disregarded due to its feminine associations, any artistry is often deemed lesser than other forms of art and creation. With The Significance of a Dress (Arachne Press, 2020), Emma Lee explores the female voice through various characters’ stories, taking the reader from refugee camps in Iraq to suffragettes in Britain. Whilst it is often presumed that poetry is autobiographical, perhaps Lee’s experience as a short story writer informs her desire to take on others’ voices, including those who may be voiceless in order to present the personal as political.
Sense Me, by Annum Salman, arrives in a beautiful box filled with paper hearts, shredded tissue paper and a plastic blue quill-style pen. I received it after seeing her feature at That’s What She Said, a spoken word night in London. The book and the box are perfect for Instagram, yet I didn’t expect to see a ‘social media etiquette’ flyer inside, which strikes me as a clever touch necessary for a self-published text.
by Lewis Buxton
Moonrise’s publisher, As Yet Untitled, is an ‘independent press that specialises in limited edition, handmade works that embrace the breadth of possibility in the book’s form’. The book is beautifully made, a fragile thing one worries about reading with a cup of tea too close. Interesting then to consider the fragility of the book’s form with the robustness of the poems. Moonrise, by Ella Chappell, is a book about sex and love and flowers and moons and stones and good nights and bad nights and scientific theories and the gravity that pulls at us all. These aren’t new themes. But that’s what I like about this book; there is at once a familiarity to it but still a newness in the words, a fresh light on the scene.
by Colin Hynson
Derek Wall Economics After Capitalism: A Guide to the Ruins and a Road to the Future.
Pluto Press, 2015. £13.00
In the last months of 2011 countries across the world witnessed an explosion of protest under the banner of ‘Occupy’. Inspired by uprisings of the Arab Spring and the Indignant movement in Spain and angered by the effects of the financial crisis of 2008–2009, large groups of anti-capitalist and anti-corporatist demonstrators took over public spaces and set up camp. The Occupy protests in New York and in London were the ones that occupied most public attention although there were Occupy protests in many cities across the world, including on Norwich’s Hay Hill.
The Occupy protestors were subject to all of the usual attacks and criticisms from conservative commentators and pundits and there was one thing that they all agreed on. It was easy to see what the protestors were against but much more difficult to find out exactly what they were for. There was no list of demands, no manifesto and no programme of action. Yet for many supporters of the Occupy movement this wasn’t a weakness but a sign of strength. It allowed diverse groups from environmentalists to socialists and anarchists to come together and draw attention to a problem that needed fixing, i.e. capitalism, whilst agreeing that there were many ways that could solve that problem.
This article reviews three books by writers who occupy both the page and the stage. My first experience of all three of these women was as poets on the stage, yet reading them was entirely different and allows time to mull over the words in a way you can’t necessarily with live performance.