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'A Salivating Monstrous Plant began as an exploration of violence present in the act of speaking, including attempts and refusal to speak. I'm interested in the body's movements and gestures, and the methods by which our voices are included in that mechanism. The question is: how can language and the body interact to extend beyond communication, verbal or otherwise? These metaphors are about conveying sensory experience rather than symbolism, and they operate by integrating metaphor with the body – be it writing of the body into metaphor, or embodying the poetics of physical movements. Might the body exist outside of its functionality, removed from practical movements?'
'I used parts of this work to create a performance piece inspired by Butoh, a Japanese expressionist dance that responds to constraints in the movements of other traditional dance forms. Many poems were rewritten to adjust the original performance script. Hopefully, neither body nor language is favoured, and physical experiences are incorporated into textual metaphor. This embodied language can then push against what we perceive as unspeakable, and if that should fail, if speaking appears impossible, perhaps something can still be achieved in the attempts to speak.' (Author's summary)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Daniela Brozek Cordier Reviews A Salivating Monstrous Plant by Tanya Thaweeskulchai
2018
single work
review
— Appears in: Plumwood Mountain [Online] , February 2018;
— Review of A Salivating Monstrous Plant 2017 selected work poetry -
June in Poetry
2017
single work
essay
— Appears in: Overland [Online] , June 2017;'A winter flush of poetry is at my door – all of it from publishers on this continent, all of it sharpening the edge of language, subject matter and form, and all of it good and fresh in its own way.' (Introduction)
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Introduction to Tanya Thaweeskulchai’s A Salivating Monstrous Plant
2017
single work
essay
— Appears in: Cordite Poetry Review , 1 March vol. 57 no. 1 2017; 'The greatest thing, writes Aristotle in the Poetics, is the command of metaphor, an eye for resemblances. The first overt metaphor in Tanya Thaweeskulchai’s A Salivating Monstrous Plant appears in its second sentence: ‘These noises conglomerate, building like a nest of waking vipers’. The noises resemble vipers, then, and the resemblance suggests a host of associations: hissing and slithering; the menace of venomous fangs; not discrete wholes but a mass of moving heads and tails and lengths of body. Real noises are given in terms of the imaginary, so that the sounds of what might well be an Australian garden – ‘crackling leaves, dust and dried mud’ – call to mind the hiss of snakes found in Africa, Eurasia, and the Americas, but not in Australia. Metaphor brings worlds together.' (Introduction)
-
Daniela Brozek Cordier Reviews A Salivating Monstrous Plant by Tanya Thaweeskulchai
2018
single work
review
— Appears in: Plumwood Mountain [Online] , February 2018;
— Review of A Salivating Monstrous Plant 2017 selected work poetry -
Introduction to Tanya Thaweeskulchai’s A Salivating Monstrous Plant
2017
single work
essay
— Appears in: Cordite Poetry Review , 1 March vol. 57 no. 1 2017; 'The greatest thing, writes Aristotle in the Poetics, is the command of metaphor, an eye for resemblances. The first overt metaphor in Tanya Thaweeskulchai’s A Salivating Monstrous Plant appears in its second sentence: ‘These noises conglomerate, building like a nest of waking vipers’. The noises resemble vipers, then, and the resemblance suggests a host of associations: hissing and slithering; the menace of venomous fangs; not discrete wholes but a mass of moving heads and tails and lengths of body. Real noises are given in terms of the imaginary, so that the sounds of what might well be an Australian garden – ‘crackling leaves, dust and dried mud’ – call to mind the hiss of snakes found in Africa, Eurasia, and the Americas, but not in Australia. Metaphor brings worlds together.' (Introduction) -
June in Poetry
2017
single work
essay
— Appears in: Overland [Online] , June 2017;'A winter flush of poetry is at my door – all of it from publishers on this continent, all of it sharpening the edge of language, subject matter and form, and all of it good and fresh in its own way.' (Introduction)