David Rushmer (b. 1965) was editor of pen:umbra magazine (1988-1991). Studied photography and art & psychology at University of East London 1995, and now works as a Library Assistant for the University of Cambridge. His artworks and writing have appeared in a number of small press magazines in the U.K., France and the U.S.A, and his artworks have been exhibited in Cambridge, London and Yokohama.
Bishop's Stortford, 2007
This recording was made on 7 February 2007 in Bishop's Storford, engineered by David Houssart.
- 'A Journey Through the Body' (for T. G.)
- 'Lace of Shadows' (for D. H.)
- 'Locus Amorphous'
- 'Remains To Be Seen'
- 'Sound Asleep'
Use the player to listen to 'Sound Asleep'Player will appear here
- 'The Hostage' (after Blanchot)
- 'The Oracle Bone'
- 'Reflections of the Corpus' from Blanchot's Ghost
- 'The Disappeared' from Blanchot's Ghost
- 'The Duplicity' from Blanchot's Ghost
Blanchot's Ghost Part 2
The Family of Ghosts
- Circles (1988)
- Spine:Works (1989)
- Absence (with David Barton) (David Barton, 1990)
- Tone Poems (Writers Forum, 1990)
- Ut-Trance (Writers Forum, 1990)
- Sand Writings (Ion Press 23, 1991)
- Homage to Throbbing Gristle (Writers Forum, 1992)
- Love Letters to the Dead (1993)
- The Family of Ghosts (Arehouse, Cambridge, 2005)
- Verbi Visi Voco: A Performance of Poetry, ed. by Bob Cobbing and Bill Griffiths (Writers Forum, 1993)
- In Blossoms Atop Reeds it Flares, ed. by Chris Brownsword (Broken Compass Press: Sheffield, 2006)
- Insects Magazine, Sub-Voicive, Cambridge Series Poetry.
- 1991 'Absence: A Performance of Text' for tape, slides and body movement. Performed at Sub-Voicive, London
- 1994 'DistURBANce' physical theatre and multi-media performance with 3 other artists and industrial band Chemical Plant, London (2 performances)
Greatworks, Moria, Poetry Library's Poetry Magazine Archive; 10th Muse #13, Angel Exhaust #16
feel you skin
the sky to sing
fill the air
with your bones
clones of memory
opening your mouth
in the rain
pours through you
the sky to sing
Work quoted and briefly discussed in The Failure of Conservatism in Modern British Poetry by Andrew Duncan (Salt, 2003).
"the only prop allowed is the human body. This purism puts the surviving images under terrific pressure, which they adequately sustain..." Andrew Duncan, 'Living in Division and Shifting Sands', review of Sand Writings and related works appearing in Angel Exhaust #11.