Overview

nature sounds without nature sounds aims for a pure expenditure of the energy economies of the anthropocene, latching onto shimmering instants of anxiety and happiness among crisis, precarity and ending worlds. Influenced by the likes of Hélène Cixous, Clarice Lispector, Lisa Robertson, Ariana Reines, Lana Del Rey and the new materialist turn in IDM, it chews the rare candies of late capitalism in the hope of a levelling up or survival. Poetry as cheat code, dreamscape; the lyric as sultry song of aporia and longing. nature sounds reflects the ambient poetics of a fractured present, its sonic palettes and ekphrastic realities erected as desire's latent architecture in the contexts of liminal labour, cherry-flavoured melancholy and the ontological upheavals of ecological emergency. Situated in the microstructures and object universe of everyday life, it nevertheless bears cosmic ambitions: exploring what we ask of meaning and mood, music and image in a time where our every horizon or hermeneutics glitches.

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9781912802302

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nature sounds without nature sounds positions Maria Sledmere as an engaged voluptuary of the now, a poet fashioning gorgeous opals out of the psychic effluvia of the Anthropocene. We first read this poetry sybaritically, luxuriating in volutes of sound and colour. But the mantle soon reveals itself as one of critical velvet , chafingly betraying the irony of its seductions as it is worn, heightening our attention to the gilded body on the line . As Sledmere knows, pain can never be truly effaced, however momentarily alluring the prescriptions ( Nothing a shake of desiccated opals won't fix ). This chapbook is a necessary canvas of glitches , a skin of epochal sigils that mesmerise as they burn. -- Colin Lee Marshall, editor of Erotoplasty An expansive landscape of colour, mood, and memory, in which traditional forms, such as sonnets and sestinas, are reconditioned by new textures, chemical hues, and song. Things that have old, long-held meanings, both personal and historic, like memories and ancient rites, go galactic in this melodic score of a book that feels like music, and whose echoes are always tumbling out of reach (rhyming 'avocado on rye' with 'come at you milky-eyed', or 'lamb's ears' with 'amnesia'). Its reveries are taut with technological interventions, like an inbox named rainbow, or a phone tracking memory, or a camera that reveals the 'planetary lashes' of an eye, all pulling back the veils of plain sight to reveal fresh perceptions. This book reveals an exciting language of connection, remembrance, and feeling that seeks to preserve and record the things we 'can't monetise', creating a resistance to the otherwise commonplace reification of so much beauty. -- Marianne Morris, author of The On All Said Things Moratorium, Word / World

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