Cat Woodward is a socialist feminist lyric poet and academic.
Her first collection, Sphinx, was published in 2017 by Salò Press. Her Second collection Blood. Flower. Joy! is due from Knives, Forks and Spoons Press in 2019. In 2018 she won the Ivan Juritz Prize for a collection of short lyrics.
Her poems have been published in No, Robot, No!, Datableed, And Other Poems, Adjacent Pineapple, Tears in the Fence, Lighthouse, Brittle Star, The Interpreters House, The Literateur, Visual Verse, Ink, Sweat & Tears and Kiss Me Hardy.
Cat Woodward was born in 1990, she is originally from Preston, UK and moves between there and Nelson, New Zealand.
Her style is modern and lyrical, her poems explore the ritualistic, magical and ecstatic elements of voicing in reference to but always exceeding the personal. She sees her poetry as a gesture of offering and her poems contribute to a tactile and ever-changing culture of listening. Her writing is both strange-horrible and tender-beautiful and pushes at the uncanny boundaries of what poetry is. Her poetry is at once discontented and defiantly celebrant, intelligent but anti-cynical. It is expressive and flamboyant. It loves its limits. Urgent subjects are treated with the responsibility which comes of being poetry and the modesty which comes of only being poetry.
Education and Research
Cat Woodward is currently applying for post doctoral research positions.
Cat obtained her doctorate in lyric poetics from the University of East Anglia in 2018 (pass without corrections). Her research was funded by the AHRC via the CHASE consortium, who awarded Cat a studentship in 2014.
Cat's PhD thesis explores lyric materiality and the processes whereby we become subjects of lyric poems. She pursues these by way of voice which reveals the uncanny yet integral aspects of poetry and in particular lyric poetry. The robot is central to her thesis; it functions as the tropic key to our lyric materialisation and as a vocal figure which makes a new and uncanny listening to poems possible. Her central premise is that lyric voice can be heard in the way we hear robot voices, as uncanny and indeterminate in the ways specific to the robot as a cultural icon. Such a listening revolves around an interplay of sounding and silence, presence and absence. This does not annihilate the traces of the human in poetry, instead it returns the human to us, unfamiliar but perhaps more human than before.
In 2016 Cat presented her research to the MSA 18 conference in Pasadena, CA. IN 2017 she presented as part of her CHASE funded placement with the University of Otago, where she also taught a seminar series Poetry: Theory to Practice.
Cat Woodward is an experienced creative writing (poetry) teacher, she has worked with adults, young adults and children. She has taught with the National Centre for Writing, the University of Otago, UEA's FLY Festival and Volume Books (NZ Best Bookshop 2018).
She is also an experienced teacher of Literature at the undergraduate level and has taught poetics workshops for postgraduates.
Conceptualism, post-humanism and so forth are radical in the same way that contemporary capitalism is radical. And, you know, that's fine. I'm not going to slag off capitalist artists, I'm not particularly bothered about them. If I've got a choice between writing a polemic against Kenny Goldsmith or George Osborne, obviously I'm going to go after Osborne.
Cat is available to teach and give readings