This video from Britain says about itself:
27 November 2011
Mark Burnhope reads ‘The Well and the Ceiling Rose’, ‘The Snowboy’ and ‘Shinglehenge’ (from The Snowboy).
By Jody Powell in Britain:
Thursday 17th July 2017
32-YEAR-OLD MARK BURNHOPE is a poet, editor and disability activist whose new book Species is his first full verse collection. Here he tells Jody Porter all about what impels him to write
What are your religious/political beliefs and how have they affected your poetry in the past and now in this book?
I’m a Christian outsider, maybe-Quaker, physically disabled and queer.
My religions are poetry, contemplation, social action and disability rights. I’m agnostic about the nature of “God” but her presence will always permeate my work and identity as “other,” even in contexts where I’m told I belong.
My chapbooks, The Snowboy and Lever Arch, dealt with religious disenfranchisement in their own ways. Species explores otherness as “natural/unnatural,” so people occupy the same space as animals, birds and monsters.
My politics are just my self, primarily filtered through disability/queerness.
I’m on the left but recoil from its tendency to exclude disenfranchised people in spite of its purported ethos of inclusion.
Recent examples include Disabled People Against Cuts (DPAC) having their wheelchair-using speakers turned away from the recent large London protest on the basis that it was their responsibility to pay for access to the stage, and not the event organisers — the People’s Assembly, who were quick to apologise and hopefully take steps to improving the situation for the future.
Then there was the discomfort I felt when certain people sharing pictures of DPAC protesters at Westminster Abbey fighting to keep the Independent Living Fund infantilised us, joked about us as defenceless, ultimately harmless and no genuine threat to government. Too often, that’s the able-bodied left for you.
I’m on the left because that’s where I find myself. But all this time, disabled people themselves have been leading a grass-roots, self-advocating charge against welfare reform and it saddens me when that’s co-opted by a non-disabled majority left that considers us only an optional piece of a larger puzzle — the “bigger fish to fry” syndrome — then depicts our efforts as quaint have-a-go attempts to join in.
I appreciate the sentiment behind a phrase like “solidarity with disabled people” but we’ve never spoken of “solidarity with able-bodied people,” we just call them the left.
I wish we received the same treatment but I find myself having to watch the action from the periphery too often.
What’s the significance of the collection’s title Species and the Darwin quote at the front of the book?
The book’s first epigraph, from theologian Francis Turretin in the 17th century, says that the law given to Moses “is usually distinguished into three species: moral… ceremonial… and civil.”
The book of Exodus contains the “clobber passages” which Christianity has used to oppress queer people alongside lesser-known verses which designate women, disabled people and others as “abominations.”
It’s not just gay people. The continual reinforcement of these prejudices in our day and age is due, in part, to this arbitrary and textually unsupported division of the law into three “species.”
The Darwin quote — “We will now discuss in a little more detail the struggle for existence” — relates to natural selection, that the strongest survive and the weakest conveniently die out for the continuation of “the whole.”
Species includes a sequence about the Atos-sponsored London Paralympics 2012, the government systemic ableism of eugenics-inflected propaganda and the dismantlement of the welfare state under the guise of “reform.”
The Darwin quote is a joke, meant to lead the reader into the book with a wry smile. I used the quote because it made me laugh. We have to laugh, or we’d cry.
What are abnominals?
The abnominal is a form invented by Scottish poet Andrew Philip, described in his second collection The North End Of The Possible: “The abnominal is a form I have developed using only the letters of the dedicatee’s name, each of which must appear at least once per stanza.
“The poem, which is 20 lines long, should begin and end by addressing the dedicatee in some way. The title must also be an anagram of their name.”
Who in contemporary poetry do you admire?
Many mainstream magazines exclude disenfranchised writers and the writing modes central to their practice. In those spaces, everything tends to just melt into a generalised “best-of-British poetry.”
Yet if a poet’s work is inclusive, intersectional and concerned with representing disenfranchised writers, I’m probably going to read it.
On that list are radical feminist and disability/crip work and poetries of race, colour and queerdom.
One group that’s given me more confidence in writing my own bodily experience is the disability or “crip” poetics movement in America.
Mike Northern, Jennifer Bartlett, Sheila Fiona Black and all the poets collected in Wordgathering online, along with the Beauty Is A Verb anthology and feminist works breaking down the barriers, are writing my revolution.
Species is published by Nine Arches Press at £8.99.