Marianne Morris started Bad Press in 2003, after submitting a poem containing the word 'cunt' to an editor who responded that he didn’t like her 'syntax'. Bad Press has since published over ten, mostly female, authors, in the UK and North America. She has written over ten chapbooks; her first full collection, The On All Said Things Moratorium, was published in 2013 by Enitharmon Press. She holds a PhD in performance writing from University College Falmouth, and a BA in English from Cambridge University; St. John’s College awarded her the 2008 Harper-Wood Studentship for Creative Writing. She is currently studying Oriental Medicine in California.
- Video recording of Holloway Poetry Series reading at UC Berkeley, February 26, 2014
- Reading at the Apple Tree Pub in London, May 2012, as part of the Revolution and Poetry conference at Birkbeck University
- Recordings from the Solace Poem E.P.
- Recordings up at Company Journal
- from Fetish Poems 1
- from Fetish Poems 2
- from Fetish Poems 3
- from Fetish Poems 4
- from Fetish Poems 5
- 'Seabass Skin on Glass'
- 'Solace Poem'
Use the player to listen to 'Solace Poem'Player will appear here
Contemporary Experimental Women's Poetry Festival, 2006
The following recording was made at the Contemporary Experimental Women's Poetry festival, held 6-8 October 2006 in Cambridge, UK and organised by Emily Critchley with help from Catherine Brown.
- 'A How-To List for Girls'
- 'A Proxy for More Protean Protest'
- 'But really I will fear growing old'
- 'Cleaning Up in Beirut'
- 'Commedia dell'Arte'
- 'Lunch Hour Pops'
- 'Pop Music'
- 'Portrait of Stendhal Jerking Off'
- 'Your Eyes Are Sort of Pretty'
- Have I Got News For You'
- DSK (Tipped Press, Tokyo, 2013)
- Iran Documents (Trafficker, 2012)
- Commitment (Critical Documents, 2011)
- So Few Richards, So Many Dicks (Punch Press, 2010)
- Untitled Colossal Parlour Odes (Bad Press, 2009) (w/ Sophie Robinson, Josh Stanley, & Luke Roberts)
- Tutu Muse (Fly By Night, 2007)
- A New Book From Barque Press, Which They Will Probably Not Print (Barque Press, 2006)
- Cocteau Turquoise Turning (2004)
- Fetish Poems (Bad Press, 2004)
- Gathered Tongue (2003)
- Memento Mori (Bad Press, 2003)
- Poems in Order (Bad Press, 2002)
- The Forward Book of Poetry 2015
- It’s Night in San Francisco, But It’s Sunny in Oakland (Timeless Infinite Light, 2014)
- I Love Roses When They’re Past Their Best (Test Centre, 2013)
- Dear World & Everyone In It: New Poetry in the UK (Bloodaxe, 2013)
- Infinite Difference: Other Poetries by UK Women Poets (Shearsman, 2010)
- Total Literary Stuffheads
- A Starling for Morning: Critical Irony and Gender in Emily Critchley’s Love / All That / & OK, The Claudius App
- The Abused Become the Abusers: the Poetry of Barry MacSweeney, Quid 14
- Behind the Veil: review of Andrea Brady's Embrace, Jacket 29
Strength to be
slipping through a potato mood like this. This
one potato mood, two, counting on me for us
strangulated supper penance. Flipped
and it was just me alone thinking about an itch
of vague purport, deep in the
et cetera, curdles
my day into perishable exactitude
how I waste as one soaks hay in the
savagery of working for pay, a one how I need,
a two how I distribute
my plaints evenly among the day
plan to evacuate vases otherwise full of me
petulant, rubber-wrapped, pink balls buoy my arms.
Which is to say, dreamt
in the nights of these crying women, our arms
extended across oceans of immutable undulant
seeds sown in time to break
me hate me and downed neck
I am ruffling the blue cuffs with a pearly paste
pretending for hours that I’m not
what I say I am
thanks to the table
between slips in my meaning
I can be permitted to explore
‘I got my pen’: interview with Vicky Sparrow at The Literateur, 2014
“All institutional systems of belief are subject to Morris’ unforgiving scrutiny: the hypocrisy of the Church (“the Pope wearing ermine, loving all / god’s creatures, except the girls, the boys, the ermine, the gays”); eco-politics (“[w]e talk about what / to do with waste, but / not how to avoid waste in the first place”); notions of self (“[w]ithout permission I am just narratives inside”) and enforced language (“[p]olitical correctness is wrong because / how is it political?). All are all skilfully taken to pieces.”--Eleanor Perry reviews The On All Said Things Moratorium, Shearsman Books
“A heroic endeavour to reclaim language for uses not appropriated by those with power”, A.C. Clarke, “THIS IS THE NEW LANGUAGE”: MARIANNE MORRIS’ THE ON ALL SAID THINGS MORATORIUM, Glasgow Review of Books (2014)
'I detect something strangely 1930's Berlin about Turning, perhaps it's the claustrophobic melancholy of a degraded erotic cabaret under the pressure of creeping despair: "every scent withdrawn into the bedchamber" [...] There's something Munch-like about it which makes me nauseous.' --Stuart Calton, "An Open Letter", Quid 15 (April 2005)