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Phillipson - Instant-flex 718

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Phillipson Instant-flex 718
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Issuing from the body-minds grisly interwedge, Heather Phillipsons poems are a protest against well-stitched seams, an off-loading of intellectual baggage, a shout from the deep-ish channels of fear. Phillipsons much anticipated debut collection, Instant-flex 718 is an operatics of reactivation. Splicing the leftovers of culture with spurious monologues discharged from an arrhythmic right ventricle or a mouth filled with half-chewed peanuts, the poems unpick and destabilise. The poet is a plasterer, entering the spits and drips with urgency. An internationally exhibiting artist, Phillipson.;Cover; Description; Title Page; Acknowledgements; Contents; At First, the Only Concern Is Milk, More or Less; Hello from This Position; A Dramatic Look inside the Heart Makes for Interesting Viewing; Heliocentric Cosmology; Rumination on 25mm of Cotton; Where and when will the barriers be in operation?; An Alternative to Television; Within the Cooling-off Period; Relational Epistemology; Ablutions; What We Learn from Fantasy; Devoted, Hopelessly; Le Parc; Dear Johnny Bunny; German Phenomenology Makes Me Want to Strip and Run through North London; Darling, You Missed a Revelation.

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HEATHER PHILLIPSON
INSTANT-FLEX 718
Shortlisted for the Fenton Aldeburgh First Collection Prize Issuing from the body-minds grisly interwedge, Heather Phillipsons poems are a protest against well-stitched seams, an off-loading of intellectual baggage, a shout from the deep-ish channels of fear. Phillipsons much anticipated debut collection, Instant-flex 718 is an operatics of reactivation. Splicing the leftovers of culture with spurious monologues discharged from an arrhythmic right ventricle or a mouth filled with half-chewed peanuts, the poems unpick and destabilise. The poet is a plasterer, entering the spits and drips with urgency. An internationally exhibiting artist, Phillipson has an impertinence and dynamism incomparably her own. Instant-flex 718 is an explosive first collection from a poet and artist who thrills and disconcerts in equal measures. Instant-flex 718 is an explosive first collection from a poet and artist who thrills and disconcerts in equal measures.

Heather Phillipson's poems fuse subterranean erotic landscapes with the complex pleasures of thought. They conduct a weird, addictive verbal electricity that can both jolt and elate. Handle with care: this book is not for those who like their poetry safely earthed
MARK FORD . For all the playfulness in Instant-flex 718, it also addresses the weighty issues mortality, the relationship between mind and body, the extinction of species, religion and its lively combination of intelligence, verve and humour makes it a debut that is both unusually accomplished and unusually pleasurable to read
CARRIE ETTER , Guardian. Cover design by Ed Atkins & Heather Phillipson

Thanks are due to the following publications in which some of these poems first appeared: AnOther, Ambit, Bloomberg New Contemporaries exhibition catalogue 2011, City State: New London Poetry (Penned in the Margins, 2009), Dear World & Everyone in It: New Poetry in the UK (Bloodaxe Books, 2013), English Chicago Review, Fin, Five Dials (Hamish Hamilton), Fuselit, Heather Phillipson: Faber New Poets 3 (Faber and Faber, 2009), Jubilee Lines (Faber and Faber, 2012), London: a History in Verse (Harvard University Press, 2012), Lung Jazz: Young British Poets for Oxfam (Cinnamon Press, 2012), Magma, Manhattan Review, Missing Slate, nthposition, Pen Pusher, Poetry London, The Rialto, Rising, The Shuffle Anthology, Southbank Poetry, The Spectator, Stop Sharpening Your Knives vols. 3, 4 & 5 (Eggbox 2009/2010/2013), The Troubadour Poetry Prize, Versuch, and Voice Recognition: 21 Poets for the 21st Century (Bloodaxe Books, 2009). 1960s Monochrome Hollywood Paraphernalia ($47, collection only) was commissioned for the Psycho Poetica project, curated by Simon Barraclough. 1960s Monochrome Hollywood Paraphernalia ($47, collection only) was commissioned for the Psycho Poetica project, curated by Simon Barraclough.

Relational Epistemology and 1960s Monochrome Hollywood Paraphernalia ($47, collection only) were first broadcast on BBC Radio 3s The Verb; Le Parc was first broadcast on BBC2 television. Thanks to The Society of Authors for an Eric Gregory Award in 2008, to Donut Press and Arts Council England for a Mentoring Award in 2009, to Faber and Faber/Arts Council England for a Faber New Poets Award in 2009, and to the Arts Council England for a Grants for the Arts Award in 2011. Thanks and love also to Ed Atkins, Emily Berry, Mark Ford, Annie Freud, John Stammers, and to Jake Moulson and my family for all thats in the book and all thats not in the book.

CONTENTS
At First, the Only Concern Is Milk,
More or Less
The baby had been guaranteed to reach us and came with hair and no clothes. Its not surprising, given the expedition. HellO, we said.

The task is to think things up. We said words like: Ha, whats not a strange place? and In the field, look! the calf s commitment to a routine dairy surge. This is how it would be if it were possible to forget Europe and sweat-shopped salopettes and the smell of horses noses and that the sky is an identikit and words are identikits. A dense love is under construction. There is more to say and less is said least of all Mother, I cant bear to outlive you, which is all, really, that matters. Sooner or later, it is actual trousers.

But wheres the baby thats going to be conned one second by the words, think them relevant? The nurses retreated to a disinfected lobby. What else? She was a whole person, but small.

Ladies and Gentleman, the lights are off in an extravaganza of expectation. Yes it is enlightening, high in the dark, waiting to fly by the toes, wearing a few decorative flourishes. I am an unstuck cerise sequin, dangled from the skys last thread. Your upturned faces are a ripple in a pink-ish blanket.

But an upside-down person is just an upright person inverted. Night-time is just daytime with canvas over it. It will all be trash when the shows over. And what is the big old world but one big old tent.

A Dramatic Look inside the Heart
Makes for Interesting Viewing
Life is too contemporary, says the heart. Its a nouvelle gymnasium with fountains of waste paper.

Or: Hi! And: Id like to make a discovery! These are just examples. From the bar off the lobby, where peanuts are always freshest, comes the sound of chewing. My heart could tell you: I spent an hour on the cross-trainer. It could tell you: This worked off the days fat tensions with a whiplash quality. Then I went for a sauna, if there is a sauna. Ease of communication has ruined the hearts eloquence, for the moment.

As for me, I live by moving. All thats modern has movement. I keep promising myself, one of these days well exist underwater. My heart could tell you: People are dwarfed by the heart, alive in its real-time subplot. I paddled through some lesser-known banlieues of the deep end, to give it further thought, the whole shapeless narrative of my untravelling.

Got what? asked my husband through a mouthful of mashed potato.

I was at home with my husband, eating mashed potato. Two miniscule but unequal balls of mashed potato dropped from his mouth onto the mashed potato. It was like when Galileo dropped balls of the same material but different masses from the Leaning Tower of Pisa, except Galileo didnt use his mouth or mashed potato, and the ground isnt a plate of mashed potato. Ive got it! My husband looked up from the mashed potato. Ive got it! I slammed my fist into the central, glowing platter of mashed potato. It was hot, for mashed potato.

Orbs leapt. They were loose crumbs of unmashed potato. Some moved towards the mashed potato. Some moved away from the mashed potato. I had discovered that the earth goes around the sun.

Its the hammerless C-string of the worlds stupid piano.
Its the hammerless C-string of the worlds stupid piano.

Between my left and right hand, above the covers whipped up like the Urals, its the rope over an abyss. Its a travesty of hand-stitching, a decapitation. Whose cotton limb? It dangles from my thumb and forefinger. The universe slackens in its shadow. Sir, Herr, Monsieur, Dottore, MLord, Your Honour I tore it from its felted home in palsy-walsy boredom. The long sound of the wind / the hypnotic high-pitch / a rhapsody from the alley.

Or it was the spoutings of small whales on asphalt carried via mothballs in the wardrobe. For a moment, the thread was immense. I plucked it. Hard. Mute hint of our bond with fluff, it hangs in nights unbound girdle.

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