Monday, 5 March 2018

Phonica: Eight

Phonica: Eight

Monday 26 March 2018
Boys School, Smock Alley Theatre
Admission: €8.00 / €6.00

Alex Bonney
SJ Fowler
Diamanda LaBerge Dramm
Alice Lyons & Justyn Hunia
Benjamin Dwyer w/ Jonathan Creasy & Nick Roth
Joanna Walsh + community performers

Phonica is a series of events rooted in Word and Sound with an emphasis on multiformity and the experimental. Conceived, directed, programmed and hosted by Christodoulos Makris and Olesya ZdorovetskaPhonica aims to explore compositional and performative ideas and to encourage a melting pot of audiences and artists from across artforms.

Phonica: Eight will feature performances from a range of award-winning writers, musicians and artists based in Ireland and internationally, including a polyphonic stage adaptation of a digital novella (an Irish premiere), a poetic collaboration set in rural Poland, a three-way musical collaboration based on Samuel Beckett's 'Neither', and a song cycle for solo violin and voice, among more.

Featured Artists:

Alex Bonney is a trumpeter, electronic musician and recording/mix engineer and producer based in London. He was born in Reading in 1978 and grew up in the flight path of Concorde, instilling a deep attachment to subsonic frequencies. He leads the Alex Bonney Quartet, is a member of Splice, Leverton Fox, BABs, Golden Age of Steam, Sefiroth, plays in a duo with bassist Dave Kane, performs solo with electronics and in a variety of other improvising ensembles. When not performing Alex works with a variety of artists producing and engineering music for leading jazz, improvised and contemporary music record labels including ECM, HCR, Two Rivers, Whirlwind, Babel, Loop, Jellymould, Not Applicable and Edition. He also works as a music educator and photographer.

Steven J Fowler is a writer and artist. He has published multiple collections of poetry and artworks, including Subcritical Tests with Ailbhe Darcy (Gorse Editions, 2017). He has been commissioned by Tate Modern, BBC Radio 3, Tate Britain, the London Sinfonietta, Wellcome Collection and Liverpool Biennial. He has been sent to Peru, Bangladesh, Iraq, Argentina, Georgia and other destinations by the British Council and has read at festivals including Hay on Wye, Cervantino in Mexico, Berlin Literature Festival and Hay Xalapa. He was nominated for the White Review prize for Fiction in 2014. His plays have been produced at Rich Mix and Toynbee Studios, and he’s been translated into 27 languages. He is editor at 3am magazine and executive editor at The European Review of Poetry,  Books and Culture (Versopolis). He is lecturer in creative writing at Kingston University, teaches at Tate Modern, Poetry School and Photographer's Gallery, and is the director of Writers' Centre Kingston.

Diamanda La Berge Dramm has been playing the violin since the age of four. Growing up in Amsterdam among the leading figures of the Dutch classical, avant-garde and improvisation scene, her own concerts reflect all of these elements. At the age of thirteen, she premiered 'Raadsels' by Louis Andriessen in the Concertgebouw for the opening of the Holland Festival 2005, and has gone on to perform internationally as a soloist, chamber music player and band member. She has worked extensively with modern music luminaries such as Christian Wolff, Alvin Lucier, Gunther Schuller, Chaya Czernowin, Garth Knox and George Benjamin. Recent performances include a collaboration in Florence with Georg Friedrich Haas and concerts in Brussels and London with avant-garde rock legend John Cale. You can hear her on New World Records as a soloist on Burr van Nostrand’s Voyage in a White City, and on Tzadik Records with Anthony Coleman. She completed her Bachelor of Music at the New England Conservatory in Boston with James Buswell and Nicholas Kitchen, and previously studied with Lex Korff de Gidts (Conservatory of Amsterdam). At graduation she was awarded the John Cage Award for her contribution to new music. Diamanda received her Masters of Music from the Royal Conservatory of the Hague, studying with Vera Beths. She was awarded the Nicolai Prize for the most special exceptional recital. Current projects include the editing and premiering of a new series of violin studies by Garth Knox, and a duo with pianist Helena Basilova focusing on early 20th century Eastern European repertoire. As a founder of Splendor - a collective of 50 musicians, composers, and stage artists who transformed an old bathhouse in the heart of Amsterdam into a local cultural paradise - she plays and hosts concerts regularly. Diamanda plays on an Andreas Grütter bow (2015) and an Andranik Gaybaryan violin (2014), purchased with the generous support of the Prins Bernhard Cultuurfonds and the Stichting Eigen Muziekinstrumentenfonds.

Alice Lyons, a poet and cross-disciplinary artist, was born in Paterson, NJ and has lived in Roscommon and Sligo since 1998. Her third collection of poetry is The Breadbasket of Europe (Veer Books, London, 2016). Lyons’s poems have appeared in publications such as Tygodnik Powszcheny (Kraków) and Poetry (Chicago), as poetry films, public artworks and in gallery contexts. Among the honours she has received are a Radcliffe Fellowship in Poetry & New Media, Harvard University; the Patrick Kavanagh Award for Poetry; the inaugural Ireland Chair of Poetry Bursary from Nuala Ní Dhomhnaill; and an IFTA (Irish Film and Television Award) nomination for The Polish Language, a poetry film she co-directed with animator Orla Mc Hardy.

Born in 1975, Cracow, ​Justyn Hunia has ​been active as book translator specializing in the humanities​. He has ​translated, among others, Zygmunt Bauman and VS Naipaul,​ and is​ currently​ working on​ essays by Zadie Smith. F​or the last 10 years​ he​ been filming the life of ​his​ grandmother in a wooden cottage in a remote hilly and forested corner of ​Southeast ​Poland with an eye to making a documentary​.

Benjamin Dwyer has given concerts worldwide and has appeared as soloist with all the Irish orchestras, the Neubrandenburg Philharmonic Orchestra (Germany), the Santos Symphony Orchestra (Brazil), VOX21, the Vogler String Quartet (Germany) and the Callino String Quartet (UK). He is the guitarist in Barry Guy’s Blue Shroud Band, which headed the bill at the Krakow Autumn Jazz Festival in 2014 and 2016. Dwyer is a founder member of Coterminous—a multi-disciplinary ensemble of musicians, dancers and filmmakers. Recent CD recordings include Twelve Études (Gamelan Records, 2008), Irish Guitar Works (El Cortijo, 2012), Scenes from Crow (Diatribe Records, 2014) and Umbilical (Diatribe Records, 2017). The Alchemia Sessions Live from the Autumn Jazz Krakow 2014 (4-CD set) for Notwo Records and Barry Guy—The Blue Shroud on Intakt Records were both released in 2016. A new CD of contemporary Irish music will be released on Farpoint Records this year. Dwyer is an elected member of Aosdána and an Associate of the Royal Academy of Music, London (ARAM). He earned a PhD in Composition from Queen’s University (Belfast) and is currently Professor of Music at Middlesex University, London.

Jonathan C. Creasy is a Dublin-based poet, essayist, publisher and musician. Born and raised in Los Angeles, he studied under jazz greats Peter Erskine and Jeff Hamilton, and later under Charlie Haden at CalArts. Creasy has recorded at Interscope/Geffen Records and Capitol Studios in Hollywood. For the last decade he has lived and worked in Ireland, where he founded and runs New Dublin Press, an award-winning independent publisher. In 2016, Dalkey Archive Press published Creasy’s book of poems and essays The Black Mountain Letters, and he was Writer-in- Residence with the Lannan Foundation. He holds a PhD in English Literature from Trinity College Dublin.

Nick Roth is a saxophonist, composer, producer and educator. His work seeks the liberation of improvisation from composition, the poetic syntax of philosophical enquiry, and the function of music as translative epistemology. Engaging in conversation with mathematical biologists, astrophysicists, canopy ecologists and hydrologists, his compositions interrogate the inherence of meaning in musical form, whilst simultaneously subsumed by an insatiable appetite for literature, exploring the symbiotic resonance of language as sound and text. A curious predisposition and a steadfast refusal to accept the existence of boundaries between the real and the imaginary has led to collaborations with an array of international performers, composers, choreographers, visual artists, poets, sculptors, directors, festivals and ensembles. In 2017 he was artist-in-residence at the European Space Agency (ESTEC) and dlr LexIcon, and in 2015 at the California Academy of Sciences and the Irish Museum of Modern Art (IMMA). He is artistic director of the Yurodny Ensemble, a founding member of the Water Project, and a partner at Diatribe Records, Ireland’s leading independent record label for new music. His work is represented by the Contemporary Music Centre and the Association of Irish Composers.

Joanna Walsh is an award-winning UK-based writer. Her latest book is Worlds From The Word's End, published by And Other Stories. In 2018 Break.up will be published by Semiotext(e) and Tuskar Rock. Her writing has appeared in many journals and anthologies including Granta Magazine, gorse journal, The Dublin Review, The Stinging Fly and The Dalkey Archive's Best European Fiction. She was awarded the UK Arts Foundation 2017 Fellowship for Literature. She edits at online literary journals 3:AM Magazine and, writes literary and cultural criticism for an number of publications including The Times Literary Supplement and The Guardian, and runs @read_women.

Phonica acknowledges generous funding support from Dublin City Council, Poetry Ireland, and Arts Council England.

Thursday, 1 March 2018

Browsing History (zimZalla, 2018)

My poetry object Browsing History, a 16-postcard set in snug cellophane, is out today on zimZalla avant objects.

zimZalla is a Manchester-based publishing project releasing literary objects. It is administered by Tom Jenks.

Browsing History documents my output as Digital Poet in Residence at the 2017 edition of StAnza, Scotland's International Poetry Festival taking place in St Andrews. Released on the first anniversary of the start of my residency, it represents object 046 on the zimZalla list.

For more on my residency project and the publication of Browsing History, read my article on the StAnza Festival website, also published today.

To view a free sample, and to order a copy, go to the object page on the zimZalla website.

Thursday, 22 February 2018

'Listen and Surprise' for Poetry Day Ireland 2018

My mass collaboration Twitter widget poem 'Chances Are' which has been running continuously since 8 August 2014 on 3:AM Magazine, and its translation into page poetry published in The Architecture of Chance, comprise one of the choices in the 'Listen and Surprise' competition project run by Fingal Libraries as part of Poetry Day Ireland 2018.

Conceived by Máighréad Medbh, 'Listen and Surprise' invites responses to one of eleven poems in any of four formats: image, video, sound, or text. The deadline for entries is 31 March 2018, and contributions will go live on a dedicated tumblr page on 26 April 2018.

Full project details.

Tuesday, 16 January 2018

European Review of Poetry, Books and Culture

My essay 'Shedding Poetry's National Baggage' was published in the European Review of Poetry, Books and Culture (Versopolis) last week.

The European Review of Poetry, Books and Culture is an online literary journal funded by the European Union, aiming to create an anglophone publication platform with a focus on continental Europe and the world beyond.

Commissioned by SJ Fowler, new Executive Editor of the Review, my essay takes the form of eight fragments cumulatively examining relationships between poetry and nation(alism) on various levels, and with references to personal experiences and to writers, poets & artists, current and historical, with an internationalist outlook.

The essay was originally conceived in late 2014 in response to an invitation towards a Europe-wide anthology, now seemingly abandoned, of pieces on trans-local writing. I began re-editing it in early 2017, and presented a version of it at the Language & Migration symposium in NUI Galway last September.

My thanks to Steven Fowler for publishing this more definitive version in the European Review of Poetry, Books and Culture.

presenting at NUI Galway (photo: Sarah Clancy)

Sunday, 17 December 2017

SAH Journal Vol 3 No 2

I have two new poems made of fragments from unauthored commentary on media articles relating to 1/ terrorism and 2/ refugees in the latest issue of SAH Journal.

Studies in Arts and Humanities (SAH) is an open-access magazine published both in print and online, based in the library at Dublin Business School. It is an interdisciplinary academic collaboration whose concern is with social, political and cultural practices in the context of mapping transformations in contemporary society. SAH’s contributors oppose forging disciplinary limits in an attempt to establish experimental spaces for critical dialogue.

Vol 3 No 2 of SAH Journal focuses on the theme of 'Minorities'. It also includes poetry from Nithy Kasa, Jennifer Matthews and Nita Mishra, as well as articles on endangered languages, Māori rights in New Zealand, the Roma and Irish Travelling communities, and more.

My thanks to Patrick Chapman for the invitation to contribute to the issue.

Thursday, 7 December 2017

gorse No. 9

‘Colour is the keyboard, the eyes are the hammers…’

gorse No. 9 is now out. Themed around 'colour', it includes essays from Clare Archibald, Niamh Campbell, Zoe Comyns, Shoshana Kessler, Darragh McCausland, Doireann Ní Ghríofa, Imogen Reid and Sydney Weinberg; fiction from Arnold Thomas Fanning, Uschi Gatward, David Hayden, Colm McDermott, Paula McGrath and Gavin Murphy; and work in Irish from Eilean Ni Chullieanain and Alan Titley.

In this issue I'm very pleased to be publishing poetry from Amanda Bell in the form of two haibun pieces comprising a mixture of 'new nature' writing, local history and memoir; four poems by Mike Saunders from a larger sequence considering the language of money; ‘Pass’, a new poem by Maurice Scully; Zoe Skoulding's ‘Prairial (from A Revolutionary Calendar)’ taken from her ongoing work on the French Republican Calendar; and two visual 'word terrain' poems by Nathan Walker.

Susan Tomaselli's editorial revolves around Yves Klein, with pivotal references to Nabokov's Speak, Memory and Anne Carson's Float among much else.

photo: @Maggie_Eire
The launch of issue 9 took place on Wednesday 29 November at Studio 6, Temple Bar Gallery + Studios, with readings from Claire Archibald, Niamh Campbell, Zoe Comyns and Paula McGrath. gorse No. 9 is available to buy directly from the website, or from selected stockists. Subscriptions are also available.

With publication of issue 9 the gorse (journal) project reaches its halfway point, as it is intended to last for 18 issues.


gorse No. 10 will be a special multimedia book-in-a-box edition comprising responses to 'the readymade' in literature from thirteen writers and artists based across Europe and North America. Devised, commissioned and edited by myself (I additionally contribute an 'editorial' piece) and encompassing a range of publishing media, the issue is currently in production with the aim of being completed before the end of the year that marks the centenary of Duchamp's 'Fountain'. More details, including contributors and how to order, soon.

Monday, 27 November 2017

At The Fruitmarket Gallery, Edinburgh, for Book Week Scotland

On Thursday 30 November I'll be taking part in 'You were also there' at The Fruitmarket Gallery in Edinburgh.

Part of the Book Week Scotland programme, and held in the context of Jacqueline Donachie's exhibition 'Right Here Among Them', this is an event with a pronounced social-political dimension, and also features Julie Morrissy as well as Scots author and NHS campaigner Rab Wilson and Edinburgh charity Upward Mobility’s band The UpMo Experience.

The event is free but ticketed (book via Eventbrite) and runs from 5.30pm till 8.00pm.

With thanks to Iain Morrison for the invitation.

Tuesday, 7 November 2017

Inflammatory Speech: an Irish Museum of Modern Art commission

In July, Nathan O'Donnell, Suzanne Walsh and I operating as a collaborative unit received one of three project commissions from the Irish Museum of Modern Art (IMMA) to create new work in response to the ROSC 50 exhibition.

After a four-month research and composition period, our resulting collaborative text and performance 'Inflammatory Speech' will be presented on Saturday 11 November at 2pm in The Johnston Suite at IMMA as part of an event showcasing the ROSC 50 artist research commissions.

Admission is free, but booking is required as places are limited:

"Audiences are invited to attend a seminar comprising of artists’ performance, lecture presentations, screening and a panel discussion. This includes research projects in response to the Rosc exhibitions: 'Prologue' by artist Amanda Coogan, 'Poverty of Vision' by Emma Haugh and a collaborative project titled ‘Inflammatory Speech’ by Christodoulos Makris, Nathan O’Donnell and Suzanne Walsh. Each artist has taken as their starting point the material relating to the Rosc exhibitions in the NIVAL archive, and are responding to themes relating to the ambition, memory and legacy of Rosc and also the critical and public engagement with the exhibitions. Other contributions will be presented by Brenda Moore-McCann, art historian, writer and appointed researcher of the IMMA/NIVAL: ROSC 50 - 1967 / 2017 project, and Valerie Connor, curator and educator, D.I.T."

About ROSC 50 and the Rosc exhibitions:

ROSC 50 is a collaborative research project between IMMA and NIVAL (The National Irish Visual Arts Library) to mark the 50th anniversary of the first Rosc exhibition in 1967. The Rosc exhibitions took place between 1967 and 1988 and had a significant impact on the development of contemporary art in Ireland. These pivotal, and often controversial, exhibitions were the first major series of large scale international art exhibitions in Ireland, at a time when Ireland did not have a National Museum of Contemporary Art. Rosc took place approximately every four years between 1967 and 1988, with IMMA being founded in 1991. From the Press Release:

"An important part of ROSC 50 is to uncover new research and new perspectives from both artists and audiences today, and to record these for future generations.  Audiences are being invited to submit their testimonials of their experiences of Rosc, which will in turn be folded back into the NIVAL archive, while artists Amanda Coogan, Emma Haugh and a collaborative project comprising Christodoulos Makris, Nathan O’Donnell and Suzanne Walsh have been selected from an invited call to undertake research projects in response to Rosc. Each will take as a starting point the material relating to Rosc in the NIVAL archive, and take into account of themes relating to the ambition, memory and legacy of Rosc and also the critical and public engagement with the exhibitions."

About 'Inflammatory Speech':

"Christodoulos Makris, Nathan O’Donnell and Suzanne Walsh are proposing, Inflammatory Speech: a research programme and subsequent performative event in response to Rosc. It is devised as a collaboration between three practitioners working at the intersections of contemporary art, poetry, and writing. Inverting Rosc’s subtitle – ‘the poetry of vision’ – they propose an alternative ‘vision of poetry.’ They will create a repository of material from the Rosc archive from which they will shape several original poetic texts for performance. This may take the form of a multivocal or polyphonic performance; a sort of choral call-and-response with poetic texts and music overlaid to create a meshwork of sound. In their submission the collaborators stated: “Responses to Rosc were (and are) marked by hostility, bafflement, defensiveness; languages of resistance but also of territorialism and the fear of the unknown, the troubling, the provocative … It is to this context, rather than the content, of Rosc that we wish to respond, creating work that explores and amplifies the exhibitions’ reception, rather than the exhibitions themselves per se."

Thursday, 2 November 2017

Phonica: Seven

Phonica: Seven

Monday 27 November 2017
Boys School, Smock Alley Theatre
Admission: €7.00 / €5.00

Anna Jordan
Doireann Ní Ghríofa
The Quiet Club
Mark Tokar
Nerys Williams
Jona Xhepa

Phonica: Seven features performances from a range of vibrant, award-winning poets, musicians and artists with international outlooks and reputations working in the fields of electronic music, contemporary multilingual poetry, jazz composition, sound art, improvisation and theatrics, classical vocals, broken narratives, and more.

Phonica is a series of linked events rooted in Word and Sound and with an emphasis on multiformity and the experimental. Conceived, programmed and hosted since early 2016 by Christodoulos Makris and Olesya Zdorovetska, Phonica aims to explore compositional and performative ideas and to encourage a melting pot of audiences and artists from across artforms.

Featured Artists:

Anna Jordan is no stranger to creating intriguing soundscapes and conjuring moods through music. Jordan belongs to a new generation of musicians to have emerged in recent years that beautifully blur the fault lines between different genres of music, creating new hybrids that defy easy categorisation. "The accessibility and beauty of She Dances is nothing if not a genuine musical success on every level." -Stephen Murphy (GoldenPlec). "Dust is a magical find, that listening to the four tracks in this album, does not only enliven the senses, but also the spirit. Anna Jordan's porcelain sound walks the fine line between delicacy and curiosity, leaving the audience floating in a cloud of musical bliss."-Frostwire. "Drawing from a broad sonic palette, SELK’s raw unshackled songs possess an inherent power which prove mesmerising in a live environment."- Hotpress. "The achingly plaintive ‘Sweet One’ sees Anna solo at the piano, her poignant vocal a thing of true beauty. Elsewhere the quirky and playful ‘Been So Long’ and the exquisite rippling aural layers of ‘My Only Friend’ showcase SELK’s versatility. Tonight’s fare defies categorisation, covering a plethora of genres and styles. The emotional potency and avant garde textures of final track ‘Beast’ bring to mind both PJ Harvey and David Byrne at moments." -Hotpress

Doireann Ní Ghríofa is a bilingual writer whose books explore birth, death, desire and domesticity.  Awards for her writing include the Rooney Prize for Irish Literature, the Michael Hartnett Prize, and the Ireland Chair of Poetry bursary. She frequently participates in cross-disciplinary collaborations, fusing poetry with film, dance, music, and visual art. Recent/forthcoming commissions include work for The Poetry Society (Britain), RTÉ Radio 1, University College Cork, and The Arts Council/Crash Ensemble. Her fourth book is Oighear (Coiscéim, 2017).

Formed in 2006, The Quiet Club (Danny McCarthy and Mick O’Shea) have met with considerable success and have become recognised as one of Ireland’s leading sound art improvisation groups. They have toured extensively in Ireland and have played at festivals in UK, Germany, Poland, Canada, China , USA and Japan. Recently they appeared at World Expo (Shanghai), Static (Liverpool) I & E Festival (Dublin), Mobius (Boston), Harvestworks (New York), Black Iris Gallery (Richmond, Virginia). They took part in an extensive tour to USA last year. They frequently play together with guests, which in the past have included Mark Wastell, Stephen Vitiello, Steve Roden, Jed Spear, John Godfrey, Harry Moore, Iarla O’Lionard , David Toop, and many others. The Quiet Club continue to push the boundaries of sound making and listening by employing a wide range of sound making devices ranging from stones, homemade instruments, electronics, amplified textures, Theremins, field recordings, etc. Their first CD Tesla was released on Farpoint Recordings and is now a collectors item. A track of their’s appeared on WIRETAPPER 23 the compilation that accompanies the WIRE magazine and their work was featured in a recent article in the magazine. They regularly appeared on Bernard Clarke’s radio programme NOVA on Lyric FM. A major exhibition 'Strange Attractor' featuring their work took place in the Crawford Gallery Cork in April 2011. A book and DVD of this work was launched last year and they made two London appearances to co-inside with the launch at the Pigeon Wing Galley and the renown Café Oto. An e-book of their American tour is also available from Farpoint. In 2016 they were awarded a major funded residency by the Robert Rauschenberg Foundation to spend two months in the Rauschenberg Foundation Studio’s in Captiva, Florida. Whilst there they recorded their new CD No Meat No Bone which has just been released by Farpoint Recordings. The new CD comes  in a 7” gatefold cover which also contains especially written texts and photographs. It comes in a strictly limited edition of 147 signed and numbered copies. Early in 2017 the took part in an extensive Irish tour funded by Music Network where the appeared alongside the duo crOw (Ian Wilson and Cathal Roche) as a follow up to their release as the quiet crow flies also available from Farpoint. “The brilliance of the Quiet Club, the Cork-based entity of Danny McCarthy and Mick O'Shea, is best apprehended live. Their CD, Tesla, is fascinating and enjoyable, but all the more so after watching their performance at the Goethe Institute in Dublin” - Seán Ó Máille, Journal of Music Vol. 1 No. 2.

Mark Tokar is the first Ukrainian musician who played at the prestigious Chicago Jazz Festival and a key figure in the Ukrainian free jazz scene. He teaches at the Lviv School of Jazz and Contemporary Music. Supported by the Polish Ministry of Culture, Mark studied under Professor Jacek Niedzela at the Karol Szymanowski Academy of Music in 2006, took part in the Krakow Jazz Workshop under M.Parkinson in 2002-2004. During 2005-2006 he worked as an Art Director of the Ukrainian-Polish Jazz Bez festival. In particular, he organised a series of Metro Jazz Philharmonic musical performances in Lviv. Mark has performed with Ken Vandermark, Bobby Few, Perry Robinson, Steve Swell, Michael Zerang, Tim Daisy, Dave Rempis, Roberta Piket, Fred Frith (USA), Klaus Kugel, Arkadij Shylkloper (Germany), Petras Vishniauskas (Lithuania), Mirchea Tiberian (Romania), Mazzol, Mikolaj Trzaska, Waclaw Zimpel, Piotr Baron, Kazimierz Jonkisz (Poland), Jurij Jaremczuk (Ukraine), Magnus Broo, Per-Ake Holmlander (Sweden), and Mark Sanders (England). Mark plays in Ken Vandermark’s international project “Resonance”, groups Undivided, Five Spot, Four, Varpaj, and Yatoku. He is the leader of the international projects Leo’m’art, Mark Tokar’s Quintet and Avtokar.

Nerys Williams’ first volume of poetry Sound Archive (Seren, 2011) won the Irish Strong prize in 2012, and was nominated for the Forward first volume prize. Her second volume Cabaret has just been published by New Dublin Press. She was recently poet in residence at the International House of Literature Passa Porta, Brussels as part of the Welsh Government’s Poetry of Loss programme. She lectures in American Literature at University College Dublin.

Currently based in Dublin, Jona Xhepa was born in Albania and grew up in Canada. Her work encompasses short fiction, music and comedy, and  is currently working on a projected radio show. Interested in broken, comedic and skewed narratives, and the growing borders between humanity and nature, she has been published in gorse, The Incubator, The Moth, and The Galway Review, and has performed as part of Listen At sonic arts series as well as briefly curating The Lestrygonian Sessions, a salon bringing together literature, comedy and science.


Phonica acknowledges generous funding support from The Arts Council of Ireland under its Festivals and Events Scheme.

Saturday, 14 October 2017

The Pickled Body issue 3.3

I have three new pieces in issue 3.3 (Winter 2017) of The Pickled Body - an issue subtitled 'A lot of what I like is trash'.

The Pickled Body is an online poetry and art magazine running since 2013 that focuses on the sensual. It is edited, designed and produced by Dimitra Xidous and Patrick Chapman.

The 3.3 'trash' issue ("all poetry is experience recycled") also features contributions from Margaret O'Brien, Nicola Jennings, Jeff Grubek, Órla Fay, Richard Biddle and Susanna Galbraith, while the featured artist is Martin de Porres Wright.

My three untitled poems are "created out of untreated text from anonymous sources on the internet," and are taken from a book-length piece I've been working on over the past while. My thanks to Dimitra and Patrick for publishing them.