Fran Lock – författare

Dogtooth is a book about ghosts. Not in the undead sense, but more as in the spectres and echoes of absent friends. It looks at the discomforts, paranoias and phobias that haunt a very particular cultural moment.It’s a book about fear, about a background static of suspicion. It’s about the twin anxieties of identity and assimilation, the folklore we carry and are carried by. The stories we tell ourselves about ourselves, and the damage those stories do.

"what should i tell you? that feral will not enrich you. that feral will not be mastered. feral is ‘wild’ without utility. it offers nothing, and it asks for nothing in return."In this uncompromising collection of lyric essays, T.S. Eliot Prize-shortlisted poet Fran Lock pulls us with her into the vortex of the ‘feral’. From medieval bestiaries to Poundland, Edmund Spenser to X-Ray Spex, in Vulgar Errors / Feral Subjects Lock explores and eviscerates historical and cultural links between animality and otherness in contexts ranging across class, gender, queerness and Irishness. Overflowing with ‘strange rigour’ and a rage that is ‘tempering hope’ Lock excavates the ways feral is at once both trap and means of liberation.‘Fran Lock is our savvy sc/avenging angel, undoing the curse of racial capitalism’s stranglehold on language and meaning. Mattering out of place, Vulgar Errors / Feral Subjects is endlessly errant, reminding us that writing is “a verb, not a noun,” immersive, propulsive and absolutely extra. Every line is so alive, so completely itself, it leaps from the page to flare bright & huge as graffiti on every wall until they fall.’ — So Mayer

White/ Other is a strange hybrid beast – part poetry, part polemic, part sectarian graffiti – a long lyric essay that grapples with the complexities of writing and living from the position of the absent subject: that is the white working-class “other” within neo-liberal culture. White/ Other is memoir remixed, cut up and spliced with passages of cultural analysis and moments of feral lyric riff to ask what it means to be politically reviled, socially abjected, and economically disenfranchised, alive at the sharp end of everything, language included.'One of the unique joys of being a “white, other” is that you present an opportunity for nice, white middle-class people to comfortably indulge both their racism and their classism without ever having to admit to the existence of either. They don't see your class because you do not present to them like a “typical” working-class person according to the tropes they themselves invented, or because they do not believe the class system exists. They filter class out of their world-view in ways that remove the experience of class-based oppression from black and minority ethnic people, while refusing to acknowledge the roll racism plays in the perception and treatment of white working-class others...'

The Mystic and The Pig Thief is, in part, an elegy. It is also a book about the pain of being imperfectly assimilated, a book about being torn between the culture you come from and the society you’re obliged to live in; a book about being pulled both ways while belonging to neither camp.The poems cross back and forth between bleak rural isolation and claustrophobic urban squalor, in Ireland, in England and in Europe. Mystic and Pig Thief are travellers, but more than being literally itinerant, they are spiritually homeless, and this to a terrible cost. The central sequence charts their inevitable transition from nomadic life, to a scattered, so-called settled existence on working-class sink estates. They stumble and struggle, picking up scraps of tradition and folklore; flirting on the fringes of the new-age ‘crusty’ scene, but always marginal, peripheral, only ever truly real to each other.Although portions of the sequence take Ireland as their back-drop, The Mystic and The Pig Thief is not about Irishness, or even about “Travellerness” per se. It is about loss, about the fall-out from, and the strategies for, dealing with an identity in rapid dissolution.