Dr Stephen Mooney

Research Interests

  • Contemporary Poetry and Poetics
  • Avant-Garde & Experimental Film
  • American Literature
  • Temporality
  • Performance
  • Experimental & Avant-Garde Music
  • Irish Literature
  • Visual Culture
  • Gaming and Poetics

Teaching

Contemporary Literature and Creative Writing

Departmental Duties

  • Poet in Residence
  • Assisted Learning Support Liaison for the School of English and Languages
  • Programme Director MA Creative Writing

Contact Me

E-mail:
Phone: 01483 68 3121

Find me on campus
Room: 34 AC 05

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My office hours

Semester 2 office hours:

Monday 13:00 – 14:00
Tuesday 12:00 – 14:00

Publications

Journal articles

  • Mooney S. (2016) 'Innovative Women’s Poetry in the United Kingdom'. Taylor and Francis Women: A Cultural Review, 26 (3), pp. 237-253.

    Abstract

    This article presents an overview, from a publishing and poetics perspective, of innovative women's poetry in the United Kingdom in the present day, examining some of the issues around access and representation of women's writing in that context. Conferences, festivals and anthologies are considered, alongside information from poetry publishing houses in the field, including a reading of the current scape of innovative women's writing in the United Kingdom from the author's perspective as an editor of Veer Books. The convergence of transgender identity and that of women in key issues of identity space and visibility in terms of innovative writing (both practices and spaces) is also proposed.

  • Mooney S. (2010) 'Temporal Unfixity in the Work of Lee Harwood'. Glyphi Journal of British and Irish Innovative Poetry, 2 (2), pp. 37-58.
  • Mooney S, Adair G. (2010) 'Gilbert Adair & Stephen Mooney in Conversation'. CPRC Birkbeck Readings - Response and Reactions to Poetries, (5)
  • Mooney S. (2009) 'Discontinuous Visuality - Brakhage's 'just seeing', and background temporality in contemporary poetics'. Jacket2 Jacket2, (37)
  • Mooney S, McCardle A, Hugill P. (2007) 'Forum on Women Writers'. CPRC Birkbeck Readings - Response and Reactions to Poetries, (2)
  • Mooney S. (2006) 'Howl of Resistance'. Lion's Roar Shambhala Sun, 15 (2)

    Abstract

    British writer STEPHEN MOONEY says we need the Beats’ example of resistance to oppressive conformity more than ever.

Books

  • Mooney S. (2016) Ratzinger Solo. London, UK : Contraband
  • Mooney S. (2016) 663 Reasons Why. London, UK : Contraband
  • Mooney S. (2014) The Cursory Epic. 1st Edition. London : Contraband Books

    Abstract

    The Cursory Epic - in which YOU are the Hero! Drawing on language, imagery and the distinctive "multiple-choice" format employed in eighties' fantasy fiction and RPG, Stephen Mooney's Cursory Epic takes the reader on an socio-political nightmare adventure - from the Shumanti Hills (where the reader will be faced with tricks and fantasy as venture capitalism) to Khare, Cityport of Traps (where every doorway and alley may conceal the Coalition Agreement). Will you secure the Cursory Spellbook required to bring order to the United Kingdom? or will you fall prey to the Seven Serpents? The legendary grasp or is it? In this late modernist epic, YOU are Porky George Osborne (Hero) - and the fate of the Big Society is in your hands! (Oh - and Rihanna Worships the Devil.)

  • McCardle A, Hugill P, Mooney S. (2009) Shuddered.

    Abstract

    "Selections from the three bodies of work written during our collective time at the Contemporary Poetics Research Centre (CPRC), Birbeck ... selections of this work also stem from the performances and publications of the "London Under ...

  • Estaphin . (2008) DCLP.

Other publications

  • Mooney S. (2008) Stephen Mooney on MJ Weller's Secret Blue Book. CPRC Birkbeck Readings - Response and Reactions to Poetries, (3)

    Abstract

    Creative Review for the Readings Literary journal of MJ Weller's Secret Blue Book. MJ Weller’s three part Secret Blue Book is a work that very successfully walks the line on the pornographic issue (so to speak); it is clearly not a pornographic work in that it scrutinises, and speaks about, the pornographic gaze, and the language of porn, and is not in this sense reducable to these forms; at the same time it is equally clearly a work of undisguised pornography, utilising as it does, both pornographic content and technique to achieve a form of linguistic pornography that it uses to critique the genre itself.

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