These sound-enhanced poems are from my full-length collection
- House At Out - published by Shearsman Books, 2015. www.shearsman.com/ws-shop/category/797-british-titles/product/5143-mark-goodwin---house-at-out
These poems are examples of my 'gappy poetry' (which can be found in my books: 'Back of A Vast' & 'House At Out', published by Shearsman Books).
Part 1 of The Ear Tree (or Theatre) is read honouring the gaps (and the word-splits).
Part 2 of Th(e) Ear Tre(e) is read more naturally, and in a way that expresses the poem before the 'gapping procedure' was imposed on it.
Th(e) Ear Tre(e) is an example of a 'poetry engine', where two poems are written and then combined into a third, through line-splicing. In this case the first poem focuses on 'theatre', and the second on 'ear'.
'Fice' is a combination of studio vocal recording (the spoken poetry) and field-recording. The primary field-recording is a vocal improvisation in a Victorian underground reservoir in Leicestershire, made with my son Louis Goodwin, and my partner Nikki Clayton. Other field-recording was made on the boat I live on, and consists of basket and sticks and a Morso multi-fuel stove.
The soundscape/soundbed for Th(e) Ear Tre(e) is largely constructed from (processing in various ways) the underground reservoir field-recording used in 'Fice'.