Black Rider Press is proud to announce the release of .the tricking post ., an e-chapbook collection of poetry by Western Australian poet Scott-Patrick Mitchell (SPM). Featuring an introduction by tomás ford, . the tricking post . is an important new work for SPM. The ebook will publish on 1 September 2011 and will be available for purchase from the Black Rider Press website.
Scott-Patrick Mitchell won the 2009 PressPress Chapbook Award, the 2010 Perth Poetry Slam, was one of three emerging WA poets chosen to appear in Fremantle Press’ inaugural poetry collection New Poets 1, and is Fremantle Press’ editor for the 2011 release Fremantle Poets 3: Performance Poets. He edits the monthly literary ‘zine “ C O T T O N M O U T H “ and is a fashion stylist for OUTinPerth. SPM is currently completing a PhD in Performance Poetry at the West Australian Academy of Performing Arts (WAAPA).
Here’s what they’re saying:
“SPM’s . the tricking post . outrages the private space of the love-letter by making it street art, and street art as poetry of the page. Why outrage? Try out rage. It is a rage of address. To whom does one address one’s desire, one’s need, one’s love? He reinvests the love-letter, making the message a connection that ravages textuality and renders it intimate, sassy, and a truly direct line of address. The ‘recipient’ becomes active by implication. Though he has moments that bring to mind Gertrude Stein’s Lifting Belly with its ‘fierce and tender’ arousal of language and passion, more often SPM deploys contrary words that seem to protest too much, that struggle with the depth of feeling that possibly lost love induces. At a time when language travels in so many ways, adapting and reconfiguring with different modes of communication, SPM catches the zeitgeist crisply and ironically. The essentials remain eternally the same, though, and that’s the key to this poem of sex that ‘fell into love’, of the letter tricking its format and becoming poetry, of the suitor becoming the subject as much as his lover, by the inevitable twisting of words dealing with the self vis-à-vis another, and with the simultaneously collapsing and expanding ‘history’ of artistic expression. This is new ahead of the new.” – John Kinsella
“This story is about words, the poet tells us – and they are performative words, words that make things happen in a one-sided epistolary post-romance. Mitchell’s letter-poems are cathartic, musical, humorous, alternating curse with echoes of lost and remembered tenderness. Endlessly lively, they are like new riffs on the tradition of invective poetry. But for all their associative energy, the poems are less improvised than sharply crafted, canny, as tricky as their title suggests. Though they are more than merely personal, their glinting surfaces both conceal and betray deep feeling.” – Tracy Ryan
“This is a warning: scott-patrick mitchell’s ‘the tricking post’ shows us directions the letter can take. the letters within rupture the limitations of the eye and the strictures of the poetic form. whether it be the voice of the trickster, the voice of shakespeare, poe or god, the words that spill forth are infinitely figurative. his dancing syllables resound far beyond the pages that contain them.” – Graham Nunn
“ . the tricking post . is exhilarating, agile and a bit crazy. This is poetry as risk rather than artifact, where invocations dance the page as typography intertwines and meanings double on themselves. Its obsessive narrative shows Scott-Patrick Mitchell can be smart as all-get-out with disruptive syntax and experimental punctuation, while grabbing a reader and making them care about language in lines. This is what comes out of the hidden into the scary light of performance as Mitchell mixes the visceral, the abstract, the cute and the colloquial in an intense brew of broken desires.” – Jill Jones
“if d.a. levy were alive he’d publish scott-patrick mitchell” – Bob Holman
“Scott-Patrick Mitchell’s poetry takes me back to 1986 in New York City when street art was anonymous, misunderstood, questioned and most importantly discussed. The wonder for a 16 year old was part of the charm, an extension of the work itself all on the walls in a city that had you fluctuating between amazement and terror. It was a time when art in the street wasn’t ‘street art’, it was a part of life. His text is like this for me, not only because it was first left to be read in the street, like seeing one of Jenny Holzers “Inflammatory Essays” posted on the side of a phone box, but in how it came together as a story, a series finally collected and curated. What’s always been done is easy to repeat, but making it relevant to you and making it your own is not. Scott-Patrick took me back to an exciting time, to a point expediential growth and now I have another person living in my city to be proud of.” – Stormie Mills