Improvisational Insurrection: The Sound Poetry of Tracie Morris

Improvisational Insurrection: The Sound Poetry of Tracie Morris C H R I S T I N E H U M E racie Morris conceived her first sound poem while walking down the street. Imagine: the rhythm of walking replicates unwilled rhythms of her body--breathing, beating heart--and paces a limbo between being and doing, idling and vigilance. Walking home drives her outward. A sentence catches the rhythm and repeats itself as the sensorimotor connectivity of walking repeats. Each city block is an imbrication of familiar terrain and unscreened encounters that the sentence strides through, shifting with minute perceptions and their thresholds. Language walks itself out of habitualized routes. Sounds pace through the body; the body paces through landscape. Walking makes a single chord of mind-body-world out of which Morris makes oral poetry in tour-de-force performances that send language-as-weknow-it out for a hike. Her sound poems strip language down to its acoustical-rhythmic potencies and potentialities to engage with the world while traveling in it corporeally. Morris made her artistic debut in the spoken-word scene of the 1990s--garnering championship titles in the Nuyorican Grand Slam and the National Haiku Slam--where the premium is on performance, especially "authenticity" of emotion and tone, and improvisation, especially audience responsiveness. Her poetry's musical http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Contemporary Literature University of Wisconsin Press

Improvisational Insurrection: The Sound Poetry of Tracie Morris

Contemporary Literature, Volume 47 (3) – Jan 3, 2006

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Publisher
University of Wisconsin Press
Copyright
Copyright © 2006 by the Board of Regents of the University of Wisconsin.
ISSN
1548-9949
Publisher site
See Article on Publisher Site

Abstract

C H R I S T I N E H U M E racie Morris conceived her first sound poem while walking down the street. Imagine: the rhythm of walking replicates unwilled rhythms of her body--breathing, beating heart--and paces a limbo between being and doing, idling and vigilance. Walking home drives her outward. A sentence catches the rhythm and repeats itself as the sensorimotor connectivity of walking repeats. Each city block is an imbrication of familiar terrain and unscreened encounters that the sentence strides through, shifting with minute perceptions and their thresholds. Language walks itself out of habitualized routes. Sounds pace through the body; the body paces through landscape. Walking makes a single chord of mind-body-world out of which Morris makes oral poetry in tour-de-force performances that send language-as-weknow-it out for a hike. Her sound poems strip language down to its acoustical-rhythmic potencies and potentialities to engage with the world while traveling in it corporeally. Morris made her artistic debut in the spoken-word scene of the 1990s--garnering championship titles in the Nuyorican Grand Slam and the National Haiku Slam--where the premium is on performance, especially "authenticity" of emotion and tone, and improvisation, especially audience responsiveness. Her poetry's musical

Journal

Contemporary LiteratureUniversity of Wisconsin Press

Published: Jan 3, 2006

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