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Sophie Mayer currently teaches at King’s College, London, for English PEN and the Bishopsgate Institute, and sells books at Clerkenwell Tales. Winner of a 2004 Eric Gregory award, she is the author of Her Various Scalpels (Shearsman, 2009) and (as Sophie Levy) of Marsh Fear/Fen Tiger (Salt, 2002, with Leo Mellor). Her work appears in the anthologies Best British Poetry 2011 (ed. Roddy Lumsden, Salt, 2011), Infinite Difference: Other Poetries by UK Women (ed. Carrie Etter, Shearsman, 2009) and The Allotment: The New Lyric (ed. Andy Brown, Stride, 2006), and in the online audio archives PoetCasting and Archive of the Now. Her poetry has appeared in magazines in the UK, US and Canada and online, including The London Magazine, Masthead, nthposition, The Rialto, Stand, Staple, Under the Radar, and West Coast Line. She is a Commissioning Editor at Europe’s only LGBTQ arts magazine, Chroma (whose 2010 Utopia issue she guest edited) and a Contributing Editor at Hand + Star, where she writes about libraries and reviews poetry. She has written features and reviews for Horizon Review, and also for Sight & Sound; her book The Cinema of Sally Potter: A Politics of Love (Wallflower, 2009) was accompanied by a major retrospective of Potter’s work at the BFI and MOMA, which she co-curated. She is the co-editor of two anthologies of critical writing on feminist cinema, There She Goes: Feminism, Filmmaking and Beyond (with Corinn Columpar, Wayne State University Press, 2009) and The Personal is Political: Feminism and Documentary (with Elena Oroz, INAAC, 2011). As well as critical writing on cinema (including DVD essays for films by Jane Arden, Kim Longinotto and Maria Saakyan), she has published essays on poetics in Masthead, SubStance, Studies in Canadian Literature, and blackbox manifold, with an essay on contemporary poetry and film forthcoming in Peter Robinson’s Oxford Handbook of Contemporary British and Irish Poetry. Her essay ‘Emily Dickinson, Vampire Slayer’ in Stress Fractures (ed. Tom Chivers, Penned in the Margins, 2010), was called one of the collection’s ‘stand-out pieces’ by David Kennedy. Buffy the Vampire Slayer remains a major influence on her poetics, as it was on Emily Dickinson’s.
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