PASS PORT is a travel document-a transcript of the first half of the at-sea installation SOUNDING((ING))S, which `maps' two means of crossing one border: by sea across the English Channel, and underneath the seabed through the Channel Tunnel. Bilingual wordplay destabilises two languages used to deny refugees movement across the English-French border. The installation offers the recovery and re-appropriation of sounds from and about the body-the female body in patriarchal language, the disabled body in an age of austerity and welfare cuts, and the asylum-seeking body within the EU.
"Amy Evans derives her wordplay in part at least from the hermetic and ety-mological linguistic investigations of another modernist poet, H.D. ... -sea/ water/flood puns run through her SOUND((ING))S sequence. They have the effect of being both witty and edgy: edgy in their exploration of the liminal bor-der of land/sea and edgy in conveying a sense of threat both to and from the sea." -Harriet Tarlo, Plumwood Mountain Journal
Amy Evans' previous chapbooks, Collecting Shells (Oystercatcher, 2011), The Sea Quells (Shearsman, 2013) and CONT. (Shearsman, 2015) formed the first three parts of the po-etic sequence to which these poems belong. Her poetry, montages, editing and criticism appear in magazines and anthologies in Europe, the US, and Australia. She currently supports Save Our Sounds: Unlocking our Sound Heritage in the Spoken English department of the British Library.
