Cutler’s writing often explores themes of ecology, loss, memory, pathetic fallacy, and love. She is currently finishing the manuscript for Oh What Monsters, with Guillemot Press, and Forest Scores, with Corbel Stone Press, and has a poetry broadside forthcoming from Very Tender Studio. Oh What Monsters recently toured with French pianist Delphine Dora, and a sample can be heard here from the Café Oto performance. Her most recent print publication is an insect poetics collaboration with artist Rodrigo Arteaga, published by HVTN Press; a description of the themes and collaborative process was also printed here, discussing themes of mortality, taxonomy, animals, and insect writing. Recent recorded performances with videos include her Torriano Prose Poems collaboration on 14th July 2019 with Mischa Foster Poole (on the piano), for Steve Fowler’s Enemies Projects; programme and videos available here. Recent writing aired as a full BBC3 Late Junction episode on 21st June 2018, Into the Forest, with the poems prompting new live compositions with string trio Barrel, whose improvisations call on disruption and riotous humour as well as a grounding in the classical tradition, and Lee Patterson with his array of amplified invented instruments, including field recordings of creaking trees and burning branches. Other musically-collaborative poems include the sea-parasite song Glaucus.
Amy often writes for a number of different collaborations, tours, publications and commissions. She often works for sound or musicians, including as part of Writing Sound: Significant Landscapes, hosted by Sonic Art Research Unit, Oxford, and Location Composite #6 for composer James Saunders, with a concert hosted by POLYproject. Her individual work explores themes of memory, loss, and ecology, including LAST YEAR (2015), a video-poem erasure of existing film subtitles about love and déjà vu, Davies thought life was long (English, 2014), an erasure text from a posthumous book index, and Nostalgia Forest (Oystercatcher Press, 2013), a combination of dendrochronology diagrams and fragments of Ricoeur’s Memory, History, Forgetting. She has visual and textual poems with publishers and journals including Datableedzine, Intercapillary Space, Renscombe Press, Nine Arches Press, Infinite Editions, Dandelion, eMigrating Landscapes, The Clearing, Philosophy Activism Nature (PAN), and the Chicago Review (#MeToo: A Poetry Collective issue, 2018). She also performs live with musicians, and her poems and scores include deconstructions of love ballads and of natural history texts, such as You will become a sink in which life has killed life (2017) with Sylvia Hallett (performance at William Morris gallery pictured above). She often contributes to collaborative projects about science or forms of scientific and natural knowledge, including Herbarium (Capsule Editions), an anthology of commissioned experimental poems on medicinal weeds and herbs launched at the Urban Physic Garden, which was temporarily built in an old hospital grounds in Southwark, and Refracted Light (Renscombe Press), a collection of twenty poets responding to Jackson Mac Low's light poems, launched at the Wellcome Trust for the International Year of Light (2015). In live performance, this poem requires a desk lamp flashing on and off denoting asterism - the letters of a coded name, a withheld person, or absent light source in a love poem, seen in this performance or in this slightly rowdier cut-off version. She also works on translation, including her Polish Cultural Institute collaboration on Polish Women's Writing with Ula Chowaniec, as well as touring collaborations, including as part of the six poet line-up (pictured below) for the North By North West Poetry Tour curated by Tom Jenks and SJ Fowler (2017); recordings of her tour collaborations with Chris McCabe in Manchester and Nathan Walker in Sheffield are available here and here. Most recently, she completed new work for Erland Cooper's Solan Goose set in 2018 (based on sea-bird ballads of grief and heartbreak and John James Audubon's ornithological memoirs), and performed a new project of karaoke-sung poems about memory, love, and pop clichés of gender, Time's Karaoke, at Surrey Poetry Festival 2018.
Her academic writings are collected on her CV, but include ''A local habitation and a name': Writing Britain', 'Land Diagrams: the new twinned studies', and ''Whitby is a statement': Littoral Geographies in British Poetry', as well as her forthcoming book on forests, poetry, and critical marginalia, Were X A Tree: Glosses on Larkin.