Sunday, 4 March 2007

Runnymede (2/5)

Some brief bland comments. Missed almost all the Poetic Practice M.A. readings. I might have missed a few less if the Runnymede International Literary Festival hadn’t been twitching small in an unsignposted room. No Rosheen Brennan’s hypervigilant beyonsense seal-yaps for dotlike point-treats Dell-dangled. Kill me. Use my belly not my head that I may thank you as I expire. We are entitled to signposts but bureaucrats in Brussels are claiming they're a fire hazard.

But I saw Frances Kruk’s reading from behind, which was helpful, because she has shorn the fur on the shapely lower-back part of her head. Frances is one of the bigger boys; seeing her in the Royal Holloway context made me remember the work she was making whenever it was she showed up in London, and how much I liked it, and how much more I like the stuff she's making now – i.e. (partly and perhaps), made me think how good the Royal Holloway M.A. can be for someone who's already producing interesting work, and about the momentum at the M.A.'s exit wounds. (Other than that, this work reintroduces me to paralysing metacritical questions. But I will write something on Frances' stuff eventually).

Something akin with Elizabeth-Jane Burnett. She read from a long piece about performance and other things. There’s a bit of Bonney in this and a lot of Beat. There’s a smidge of Harlem Enlightenment and smudge of Keatsian vulgarity: “html angel” is diaphanous plus coded, writer’s writer’s writer’s irridescence's irridescence at least.

For some reason during Sejal Chad's readings I concentrated overmuch on the visuals (a photo slideshow), and on the poem-plus-projector performance style itself (probably because it seemed like liberal and engaging work, and I wanted to engage with it, but was still off-balance). I think visuals were handy in this case, because they were pretty droll and fast-tracked the beginner into the text's missable drolleries.

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