top of page




/////// 68 Pages
14.8 x 21 CM

ISBN: 978-1-915341-13-6

Rhys Trimble’s Kør is a transcription from 6 performances / rituals in different countries / linguistic environments an ectype out of time / ex tempore, in which picosecond decisions lead to adventures of expression. Kør accesses the unmediated communication highways via text & performances through gesture and hyper-rapid reading in order to overcome the memory lapses associated with ADHD. The title as a reference to Cora a language beneath verbal signification. Now kør / core as hardcore, 5 core /beneath/pure/extremity of action-as-text. Drawn from the scattering of papers drawn from a bag of junk: pieces from workshops ran and attended, other poets work, laminated words made from a medieval cywydd, academic text on destructive art, half glimpsed SMS cut-ups, now laid-out as a physical river of lexes, an intext made into poems.




Rhys Trimble is a neurodiverse, post-poetic bricoleur, multilingual poet, literary recidivist, teacher, translator, avant bard(d), performer, critic, improvised musician, visual artist, sham(an), pastynwr, performance artist, publisher and editor born in Zambia, raised in South Wales and resident in North Wales.



  • I love the visceral{ity} page. A beautiful sprawl of living language. A series of glyphic marks that asks the question - where is the body on the page?

    --Edwin Torres


    The tension that has energised Rhys Trimble’s outstanding performance practice for many years is between the page, whether that of medieval Welsh poetry or more recent avant-garde precursors, and sounded events that leave a trail of paper, torn and scattered across the stage. The voice may be the origin of poetry, but here it’s a voice that’s inhabited both by the traces of written text it leaves behind and the recording possibilities of technology, looping and sampling itself even when there’s no machinery involved. With a nod to David Antin, and a joyful exuberance that is all its own, KØR is a transcription of performance situations into a dynamic score in reverse that opens language to its own potential, its flux and flood, its llif – and its life. Not just a record of encounters on different continents but an effervescent remix for the page, it crosses time zones and cultures as it carries with it the encounter between Welsh and English as a source of unique vitality.

    --Zoë Skoulding



    Word calls word, sound calls sound, Trimble’s multilingual polyrhythms seep through the page, spilling, surging, gushing, swarming through the inescapable tensions and intensities of liveness.

    --Iris Colomb



    Improv poetry: for me it’s taking all the pieces and experiences of information, using my dyslexia and ADHD and memories of bits of conversations and interactions with people to explain my understanding to create a narrative - what Rhys does is even more complex because he uses unmaleable forms to try to make these narratives. Regardless of how you come at improv it’s really about communicating complex ideas to somebody without removing the complexity - the real communication that happens there is that there is a channel between us, there is a language between expression and reception, it links to existence, to life and to love. Think about it as standing in a room with somebody feeling they are somewhere else in the room, that the other person is there, knowing that they are feeling that too - that is a communication without language, moving on these natural channels there is something equal.What improv does is moving on these channels, the natural channels of existence, the language underneath that is what we are always exchanging, when the channel is reduced it's just about expression and figuring out how you can play with the materials that you have to create an equation that equals out in the other person.


    --Jah Mir Early

bottom of page