The Museum of Disappearing Sounds

Literature & Fiction

Skoulding, Zoë

Poetry

Seren

A unique collaboration from some of Europe’s most exciting contemporary female voices, this work is the result of writing and walking in different cities across Europe in response to the questions What does writing poetry have in common with walking in the city? In translating poetry, what lost paths, dark alleys, and chance connections are encountered? and How are the maps by which cities are known allow for new poetry to be discovered? Each of these lyrical pieces, which deftly explain the relationships between place and language, provide new and refreshing ways for readers to see European cities.

Metropoetica

Fiedorczuk, Julia

Balode, Ingmara

Karlström, Sanna

Pepelnik, Ana

Þrastardóttir, Sigurbjörg

Wójcik-Leese, Elzbieta

History & Criticism

Poetry & Listening: The Noise of Lyric (Poetry &..., 10)

Listening has always mattered in poetry, but how does poetry change when listening has been transformed? In Poetry & Listening: The Noise of Lyric, the field of sound studies, which has revolutionised research in contemporary music, is brought into dialogue with new lyric criticism. Examining poetry as mediated by performance, technology and translation, this book discovers how contemporary poetry has been re-energised by the influence of recorded sound and influenced by the creative methods that emerged with it. It offers an exploration of contemporary poetry's acoustic contexts, moving beyond traditional analysis of poetic form to consider the social, political and ecological dimensions of a poem's sounds and silences. Through lucid engagement with a range of richly innovative English-language poetry from the UK and USA, it argues for the centrality of listening to a form of composition in which language not only represents sonic experience but is part of it. With reference to Jean-Luc Nancy's distinction between hearing and listening, alongside other key theorists of sound and noise, it shows how poetry offers insights into sensory perception, and how it charts acoustic relationships between language and the environment.

Liverpool University Press

A Marginal Sea

Carcanet Press Ltd.

Listening has always mattered in poetry, but how does poetry change when listening has been transformed? In Poetry & Listening: The Noise of Lyric, the field of sound studies, which has revolutionised research in contemporary music, is brought into dialogue with new lyric criticism. Examining poetry as mediated by performance, technology and translation, this book discovers how contemporary poetry has been re-energised by the influence of recorded sound and influenced by the creative methods that emerged with it. It offers an exploration of contemporary poetry's acoustic contexts, moving beyond traditional analysis of poetic form to consider the social, political and ecological dimensions of a poem's sounds and silences. Through lucid engagement with a range of richly innovative English-language poetry from the UK and USA, it argues for the centrality of listening to a form of composition in which language not only represents sonic experience but is part of it. With reference to Jean-Luc Nancy's distinction between hearing and listening, alongside other key theorists of sound and noise, it shows how poetry offers insights into sensory perception, and how it charts acoustic relationships between language and the environment.

The French Republican Calendar, in use from1793 to 1805 and revived briefly during the Paris Commune of 1871, was an effort to secularise time and return symbolic power to the rural worker. The poet Fabre d'Églantine renamed the months after seasons, while each day, instead of being dedicated to a saint, was dedicated to a plant, animal, mineral or agricultural tool.These names are the starting point for the poems of A Revolutionary Calendar, in which the interplay of etymologies, translations and sensory memory becomes a means of exploring solidarities between humans, objects and other species.\n"With expert grace and subversive panache, Zoë Skoulding has written a collection of five-line poems gathered into twelve sections of thirty poems each--a form that replicates that of the 'Republican Calendar' created in the immediate aftermath of the French Revolution. Each 'month' of poems uses the five-line format differently; each of the individual poems responds to a single element of the phenomenal world and all are attentive to the rounds that phenomena follow. The resulting sequence of meticulous observations and penchant forays that inform A Revolutionary Calendar maps out a temporal intersection, bringing historico-political time (linear and progressive) into conjuncture with seasonal agricultural time (cyclical and recursive). Both are revolutionary, though in different senses, and likewise Skoulding's magnificent Revolutionary Calendar is very much a book of turns and chart of changes. It is a book for every year." --Lyn Hejinian

A Revolutionary Calendar

Shearsman Books

The title poem of this collection is set in Murano, home to the Venetian glass-making industry. The alchemical processes of mirror-making, its 'furnaces and transubstantiations, / amalgams of tin and quicksilver' become a guiding metaphor for the poet. Cityscapes are haunted by memories both personal and historic.

The Mirror Trade

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Books by Skoulding, Zoë