The Importance of the Poet's Voice

Melbourne Spoken Word's Audio Journal

I took possession of the first two issues of Melbourne Spoken Word's Audacious Journal this week.

Though due to working on a SEKRIT project, I haven't had much time to listen closely.

I note that Issue Two features the American poet, Bill Moran, who performed at a Brisbane Speed Poet's session that I read at two years ago.

It's good to see him still performing and still travelling (how anyone does this on poetry money I have no idea).

But hey, I am looking forward to hearing some local (Australian) spoken word pieces which brings me to Lunar Poetry Podcast's interview with Helen Mort (no she's not Australian).

 Mort and Turner talk, amongst other things, about the need for people to hear poetry performed, whether it's spoken word or not.  They talk particularly about getting students interested in poetry and Mort details from her experience, that when she reads a poem, when she explains some of the reasons behind writing the poetry, that students start to really engage.


I bought Mort's poetry collection Division Street off the strength of her reading of Miss Heath, so it's potentially good for sales too.

Which brings me, rather slowly to my point, that the poet's voice, their actual audible voice, not their written/stylistic "voice" is important.  Perhaps more so for poetry. This is regardless of whether the poem's written for page or stage.

Your thoughts?