Ahren Warner – författare

Explores critical and creative responses to the contemporary poetry archiveProvides an innovative new dialogue between critics and creative writers on the value and practice of the literary archiveExpandes the scope for understanding perspectives on, and the opposition between, creative and critical relations to archival materialsOpens up a new cross-disciplinary agenda for thinking the archive as both a source for scholarship and a source of inspiration for creative practiceThese 13 newly commissioned chapters examine the impact of archival poetry collections on both literary scholarship and poetic practice. They examine what we can learn from the drafts, notebooks and personal libraries left behind by poets and look at the ways in which the growth of poetry archives has changed the way poets think about their work. The contributing poets and scholars – including Susan Howe, Sean O’Brien and George Szirtes – present an in-depth account of the significance of poetry archives for contemporary literature. The collection provides a new cross-disciplinary agenda for thinking about the archive as both a source for scholarship and inspiration for creative practice.

Ahren Warner''s second collection of poems opens with the sequence Lutèce, te amo: a raw paean to the Paris it inhabits that flits between past and present and offers both adoration and horror in equal measure. Elsewhere, London ''licks and laps''; an anonymous man ''works his bones with a micro-plane'' and translations of Baudelaire and Kojève rub shoulders with Kurt Cobain and ''Little Lord Tory-Tit''. More capricious, fleshly and darker than Warner''s previous work, Pretty culminates in Nervometer: thirteen poems hovering between a collage, translation and performance of Antonin Artaud''s Le Pèse-nerfs, which bring Pretty to a beautifully ugly end. Poetry Book Society Recommendation.

Hello. Your promise has been extracted is Ahren Warner's third collection of poems, a book in which the lyric runs in parallel with a series of photographs made by the author across Europe. From Paris, Berlin and Budapest, to Athens during the height of the Greek debt crisis and Kiev in the wake of the Maidan Revolution, the poems and images of this book form what Immanuel Kant might have called a cosmopolitan dialogue: a conversation between two speakers in two utterly different languages. Though the poems here often begin in conversation with writers and thinkers - from Celan and Plato to David Foster Wallace and Emmanuel Levinas - they are also profoundly and emotionally engaged with the realities of the contemporary world. Hello. Your promise has been extracted is not a polemic. It is neither witness nor reportage. Rather, it is a book that offers an insistent performance of poetic dialogue with the visual, philosophical and human experience it confronts. Poetry Book Society Recommendation.

Hello. Your promise has been extracted is Ahren Warner’s third collection of poems, a book in which the lyric runs in parallel with a series of photographs made by the author across Europe. From Paris, Berlin and Budapest, to Athens during the height of the Greek debt crisis and Kiev in the wake of the Maidan Revolution, the poems and images of this book form what Immanuel Kant might have called a cosmopolitan dialogue: a conversation between two speakers in two utterly different languages. Though the poems here often begin in conversation with writers and thinkers – from Celan and Plato to David Foster Wallace and Emmanuel Levinas – they are also profoundly and emotionally engaged with the realities of the contemporary world. Hello. Your promise has been extracted is not a polemic. It is neither witness nor reportage. Rather, it is a book that offers an insistent performance of poetic dialogue with the visual, philosophical and human experience it confronts.

''This ground-breaking book develops a startling, sometimes fierce, always compassionate engagement with the deeply troubled times in which we live. The schema is pitch-perfect in its lyric adaptations and wholly original in the way it incorporates a narrative of images to its purpose. This is work that demands our attention, yes, but more - our involvement.'' – David Harsent

Poetry Book Society Recommendation.

I’m totally killing your vibes is one-part phantasmagoria, one-part brutal document, with equal measures of irony and sincerity.It is a book compulsively drawn to a world in which identity and performance have become indistinguishable, where the squelch and seep of feelings frustrate our safety nets of logic and ethics, and violence and inadequacy are so often the corollaries of love.I’m totally killing your vibes is a book of poems concerning the exuberant performance, and the manic dissolution, of the self. It moves through the slow, fragmented dissolve of a relationship, via a tableau vivant of assorted, itinerant characters, and an extended, darkly comic dialogue with the feedback of literary, academic, and everyday life. A final, long-form prose poem extends the book’s interrogation of consumption as our contemporary mode of self-construction, of masculinity, and of desire.

I’m totally killing your vibes is one-part phantasmagoria, one-part brutal document, with equal measures of irony and sincerity. It is a book compulsively drawn to a world in which identity and performance have become indistinguishable, where the squelch and seep of feelings frustrate our safety nets of logic and ethics, and violence and inadequacy are so often the corollaries of love. I’m totally killing your vibes is a book of poems concerning the exuberant performance, and the manic dissolution, of the self. It moves through the slow, fragmented dissolve of a relationship, via a tableau vivant of assorted, itinerant characters, and an extended, darkly comic dialogue with the feedback of literary, academic, and everyday life. A final, long-form prose poem extends the book’s interrogation of consumption as our contemporary mode of self-construction, of masculinity, and of desire.

Ahren Warner's second collection of poems opens with the sequence Lutece, te amo: a raw paean to the Paris it inhabits that flits between past and present and offers both adoration and horror in equal measure. Elsewhere, London 'licks and laps'; an anonymous man 'works his bones with a micro-plane' and translations of Baudelaire and Kojeve rub shoulders with Kurt Cobain and 'Little Lord Tory-Tit'. More capricious, fleshly and darker than Warner's previous work, Pretty culminates in Nervometer: thirteen poems hovering between a collage, translation and performance of Antonin Artaud's Le Pese-nerfs, which bring Pretty to a beautifully ugly end.

You wake up in the footwell of a mid-sized hatchback somewhere on a highway in outer Bangkok. You compile neurotic spreadsheets of the best ‘party destinations’ in Europe, whilst your work emails pile up without ever being read. You quit your job. You launch a banal start-up. You grieve for a past relationship. You stare endlessly at the waves coming in from a beach in Koh Pha Ngan. You vape intensely. You spend money on feelings, on the performance of your own persona, whilst you observe yourself with a detached sense of horror.i will pay to make it bigger is a novella, by poet and artist Ahren Warner, in which ‘you’ are the main character. Through text and image – autofiction, docufiction, and just plain fiction – you work your way through a tangle of preoccupations: from what it means to buy enjoyment, to the fragile construction of your own self as a cultural product.i will pay to make it bigger is also a photobook, a collection of images produced whilst living in Thai ‘party hostels’. Although these photographs might seem to exist as the documentation of intimate or ecstatic moments, they are in fact quite painstakingly, and artificially, constructed: composited and manipulated from multiple still frames of film footage to produce images that advertise the calculated artifice of their own hedonism, emotion and seemingly raw experience.

The sea is spread and cleaved and furled is an interdisciplinary book and film-work by poet and visual artist Ahren Warner. It is a sequence of lyric poems, a narrative, voice-over and compendium of notes-to-the-self. Written and filmed across thirteen countries, from the Greek Islands to South East Asia to the Black Sea, the Balkans and the Baltic, it is at once a travelogue and an exploration of stagnating memory, of mental fracturing and its corollary: the exuberant performance of the self. It is both a love poem, an intermedia obsession with *cats*, and the personal and philosophical exploration of alienation, moving from Andrew Marvell to Cardi B, from Foucault and Back to the Future to the inane and repetitive close reading of Drake. The sea is spread and cleaved and furled is a poem and a film about the veneer of dialogue, narcissism and pleasure, about contemporary economies of capital, human movement and desire, and the resistance of the sensible or affective world to language itself.