Just back from a fantastic week and weekend in Dublin where I presented a paper at TEXT/SOUND/PERFORMANCE on using archive as a de-stabilising form in my work in my poem-writing practice. I was up there with some incredible co-panellists and it amazed me how well they all chimed with each other. It really did.
So thrilled this 9-month in the making project is about to come to fruition in an exhibition running from April 25th to May 30th. Truth Tellers explores how sense was made of the collective trauma of the 2017 Manchester Arena attacks by developing new Art-IR analytical methods that combine creative practices and international relations methods to recover and explore the aesthetic codes of trauma, community and identity.
For more information about the project you can visit here: https://www.kcl.ac.uk/sspp/departments/warstudies/research/groups/arts/truthtellers/index
Hey, you can hear me speaking about poetry and how travelling all over the world has had an impact on my writing here, at ‘La ninfa Eco’ podcast with my very talented poet-friend Gaby Sambucetti.
The wonderful Argentinian poet Gaby Sambucetti interviewed me over at Liberoamerica. We spoke about writing, white privilege and how to dismantle it here:
Another year, another winner of Oxford Writers’ House Peregrine Prize for writers aged under 18. We had another fantastic group of submissions from kids and young people within the OX postcode and you can read more about the event and winners here.
For the past nine months or so I’ve been a poet-in-residence of the seminar series ‘Post-war: Commemoration, Reconstruction and Reconciliation’. It’s been an incredible experience embedded in the colonial archives at The Pitt Rivers Museum, Oxford and you can hear a selection of the poem I’ve written here.
Delighted to announce I have my first academic article published in Writing in Education, the journal of The National Association of Writers in Education.
The article looks at the question of how to represent trans-generational trauma in forms that are able to contain its aporetic texture and looks to Maggie Nelson and Anne Carson in order to do so.
