PASS PORT

<p><em>P</em><em>ASS</em><em> </em><em>PO</em><em>R</em><em>T</em> is a travel document—a transcript of the first half of the at-sea installation <em>SOUND((ING))S</em> 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.</p><p>“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 <em>SOUND((ING))S</em><em> </em>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 <em>Plumwood Mountain </em><em>J</em><em>ournal</em></p>