L F – L TT R

Funny how sometimes you want to express yourself, really express yourself & it seems so under~whelming, you don’t know where to start & suddenly you believe you can no longer write about anything any more. Funny, isn’t it? i tried late last week to find something to write about for the Against English Poetry School online course. hardest. thing. ever. i have to say.

i have often looked out at the world & really wanted to invent a new language to describe what i saw but when it actually came down to doing it, my oh my – how difficult it proved to be. this time, it wasn’t any easier. i sat thinking & tossing ideas around for a whole day (not an unusual thing for me to do) but then i chanced upon something whilst out walking the dog. All around me the leaves were turning into the most fantastical shades of gold & brown, russet & orange, all mixed up together & creating new & more complex colours; so i set to work …


“Eco” here signals–no more and no less–the house we share with
several million other species, our planet Earth. “Poetics” is used as
poesis or making, not necessarily to emphasize the critical over the
creative act (nor vice versa). Thus: ecopoetics, a house making.
–Jonathan Skinner, “Editor’s Statement,” Ecopoetics.

oxlip (autocorrect of = oulipo)

i started the poetry school course ‘against english: dialects, distortions and new vocabularies‘ today with an experiment:


  1. the book “woman and nature” by susan griffin: page 20. take out all the words beginning with: woman.  and make the first stanza out of these words.
  2. “woman and nature” by susan griffin. page 193. take out all the words beginning with nature. and make the second stanza out of these words.

this book is very close to my heart at the moment, as i continue my journey into feminism and one that has changed the way i think about the world (along with ‘wild: an elemental journey’ by jay griffiths and ‘the beauty myth’ by naomi wolf) and it is interesting that even though you can write in a very restricted way, it is possible that something profound can come out of it.

Against English: Dialects, Distortions and New Vocabularies 

at: The Poetry School

Tutor: Harry Giles

Write against English, take it apart, and explode language altogether. What happens when poets hit the limits of a language, and decide to break out? On this course we’ll look at how English-speaking poets have written ‘against English’, using techniques that take English apart, writing in languages which have been formed against English dominance, or writing in opposition to the idea of English writing. We’ll begin by looking at transformation and restriction from Oulipian constraint to disability poetics. We’ll then examine creating new vocabularies, working in dialects and minority languages from Linton Kwesi Johnson to Christine De Luca, with a dip into ‘conlangs’ like Esperanto and Elvish. We’ll finish up by exploding language entirely into visual and sound poetry. Students will finish armed with multiple new techniques for writing poetry, a new understanding of the possibilities of poetry beyond English, and thus a better idea of what it means to write in English in the first place.


this is no good
it’s been hurt we should pull it knock
out the crown~ expose
the velvet entryway
enter at first with possible violence
the enjambment
might be a shock

witness the drill silence
the rotting root~

it goes on and on

the corrosive hole rimmed
with titanium
with whispers
like someone needs saving

filled with disparate
insidious favours

you say:
it’s time you stood on your own two feet


some things i nodded to
some things made me sorrowfully shake my head
but mostly i believe i scraped through
relatively unscathed

my best friend in school; we would sit on each others’ knees waiting for assembly
some boy once called us dykes but i didn’t know
what that would mean, until much later

i knew that i could not be a mother at 20
unlike my mother who [i’m assuming in 1959]

had no choice.

i think that’s when things may have started to go wrong for her
that fucking Freud & his devotees
the problem lies not with women but society

when i realised what the problem was i felt better
relieved; i felt
that all the tree climbing & wearing black t-shirts
& square boots
all the scribbling in secret books
& the way i used sex to land my first real job

haha the joke could have been on me
but it was not.

written whilst reading ‘The Female Eunuch’.