Dompteuse by Andrea Brady
Parade of saints and patrons wearied into corn.
No one knows devotion if no one is left.
The wire mother is a terrible cage regardless
serves its purpose. Same cloth
cuts an obscene hourglass against their figures,
proportioned to a Spanish drama on the Bangalore line.
Identity is a property of parthood, never the whole;
under a voracious eye we seem
much harder in our clothes than we know.
The cormorant’s a mortuary bird. Fat
on a doll proofs against sovereign hunger.
‘Unlimited freedom for H.H.’, the artist signed one of her first photomontages in 1919. Natural predators and barbarians, philosophers and generals, flowering plants and carbine engines were the constituents of Hannah Höch’s Dada piecework. Collage was the medium in which Hoch could outwit fascism, the triviality of the new woman, and the mechanisation of daily life. Her art of the cut-up begins in curiosity and attention and breaks through the mundane with discipline and repeated scrutiny. The result is a body of work which recharges the commodified image, and the commodified person, with a hot alien energy. This sequence of poems responds to Höch’s photomontages, adapting and interrogating their language of banality and exoticism to think about the passions of the 21st century. Producing, reproducing, scrutinizing and compiling, these poems seek out the horizon of unlimited freedom which recedes along the lines of the clip.
New British Poets No. 4
New British Poets is a series of chapbooks edited by Stephen Collis and Amy De’Ath that brings new work by British poets to North American readers.
40 pages; 100 copies issued