Filmmaker Devansh Agarwal and singer-songwriter Sonali Argade collaborated on a music video-like poetry film of John Webster’s 17th-century poem for the Visible Poetry Project. Argade is also the actress. Her musical interpretation appears to be a cover of the 1924 Peter Warlock composition, from his 3 Dirges of Webster, now in the public domain. Here’s a more standard performance by the Baccholian Singers of London:
An experimental videopoem from Martin Green (text, voiceover) and filmmaker Emily Wright, one of the 27 poetry films produced for the Disappear Here project focused on the ringroad around Coventry, UK. Every week another three films appear on the project blog, together with biographies of those involved. This was my favorite of the three films by Green and Wright featured on April 2; I thought that the recitation of vehicle registration plate codes as if they were text gained a peculiar pathos from the conjunction with a stained-glass-like video collage of the ringroad map.
Wright’s bio states that “Brutalist architecture is a strong inspiration for her work as she is interested in drawing attention to anything unpopular and unloved.” And Green is described as more of an artist than a poet, whose “work explores joining sculpture, writing and performance together.” (This is especially evident in “T“.) Read — and watch — the rest.
London-based translator and poet Jean Morris provided the texts for this bilingual filmpoem by the Stockholm-based Spanish director Eduardo Yagüe. Soprano Juana Molinero sings the Pie Jesu from Fauré’s Requiem in the soundtrack, providing a pleasing contrast to Yagüe’s voiceover.
This poem is taken from my book Nobody Told Me: a journey from pregnancy to pre-school in poetry and prose: http://www.blackfriarsbooks.com/book/nobody-told-me/
“The World Needs this Book” The Scotsman
“a moving and profoundly personal account” The Skinny
The video was directed by Jake Dypka with Indy 8 for Channel 4 Random Acts with help from hundreds up people via a KickStarter campaign.
Why is titillation accepted and sustenance rejected?
Nobody Told Me has just won the prestigious Ted Hughes poetry award.
Singer-songwriter Kathryn Williams, who judged the prize with poets Jo Bell and Bernard O’Donoghue, said the book “should be sold alongside Caitlin Moran and Bill Bryson. Honest and insightful, it will resonate outside the poetry world to reach a new generation of poetry readers.”
The collection covers all aspects of motherhood, challenging taboos about post-pregnancy sex and breastfeeding as well as the sense of isolation and loss many women feel after giving birth. It also celebrates the joys of having a young child. On publication, the Guardian wrote that “her poems can often sound like love letters to her daughter and each phase of babyhood”.
The Cambridge graduate has earned a reputation for breaking new ground with poetry and performances that straddle the literary and pop scenes. As well as becoming the first poet to record an album at Abbey Road, McNish has collaborated with rapper George the Poet and Kate Tempest, who won the Ted Hughes award in 2012. Her YouTube videos have been viewed more than four million times.
In this Moving Poems production, a quote from Denise Levertov’s “Relearning the Alphabet” anchors a brief epistemological meditation. Or as I’ve been describing it on Facebook, this is basically a videopoem about videopoetry. The text animation, live footage and audio were all released to the public domain by their shy and selfless creators. (The poem is of course under copyright, but I think using a short quote—the “U” section—combined with what the law would probably consider a transformative use—the videopoetic treatment—would qualify this as “fair use” under U.S. copyright law.)