PASS PORT is a travel document—a transcript of the first half of the at-sea installation SOUND((ING))S, which ‘maps’ two means of crossing one border: by sea across the English Channel, and underneath the seabed through the Channel Tunnel. Bilingual wordplay destabilises two languages used to deny refugees movement across the English-French border. The installation offers the recovery and re-appropriation of sounds from and about the body—the female body in patriarchal language, the disabled body in an age of austerity and welfare cuts, and the asylum-seeking body within the EU. "Amy Evans derives her wordplay in part at least from the hermetic and etymological linguistic investigations of another modernist poet, H.D. … —sea/ water/flood puns run through her SOUND((ING))S sequence. They have the effect of being both witty and edgy: edgy in their exploration of the liminal border of land/sea and edgy in conveying a sense of threat both to and from the sea." —Harriet Tarlo, Plumwood Mountain Journal
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Amy Evans' previous chapbooks, Collecting Shells (Oystercatcher, 2011), The Sea Quells (Shearsman, 2013) and CONT. (Shearsman, 2015) formed the first three parts of the poetic sequence to which these poems belong. Her poetry, montages, editing and criticism appear in magazines and anthologies in Europe, the US, and Australia. She currently works in the Spoken English department of the British Library for Save Our Sounds: Unlocking our Sound Heritage.
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