Hyperlove burns with frustration and fervour as Naomi Morris explores heteronormative ideals, romantic happily-ever-afters and the historical oppression of women and their right to agency and expression. Yet Hyperlove isn’t constrained to a sense of personal storytelling. In this incisive lyric essay, the creative mixes with the critical, as Morris looks to the mystics, to pop culture, to writing itself, dislocating categories of love and forming a radical and original exploration of desire as a woman.
‘Simmering at the lovelorn altar with Simone Weil, Angel Olsen and Instagram, Hyperlove explores the ‘Absolute Dirty Secret’ of desire’s imperative. With the assured grace of an essaying, diaristic lyric, Morris performs the swoon and sorrow of a radical longing.’-Maria Sledmere; ‘Morris is a kind of modern-day mystic – impossibly standing outside herself to lyrically interrogate our sexualities with a lucid and luminous calmness. In her terms like ‘soul’ and ‘ecstasy’ are born again.’ –Richard Scott; ‘Hyperlove posits an assertively raw take on eros, walking the balance between control and frenzy. Naomi Morris’ voice is lubricious, winking, and at times grimly comic.’ –Alanna McArdle; ‘Sexy and spiritual, Hyperlove eulogises desire as self-erasure – romance is alive in these prismatic and hymnal interrogations of love and addiction, performance and fixation. Disruptive and extrasensory as a crush, Morris’ work summons us back into our own reflections.’ –Kandace Siobhan Walker; ‘Naomi Morris’ Hyperlove is a bouquet of challenging and intimate poems. Morris deftly plays with the definitions of ecstasy and ekstasis; unreal pleasure vs. literally standing outside oneself. The poems can be both visceral and detached, moving between therapeutic language: ‘it can be said that sex addiction is mistaking sex for God’ and dreamlike imagery: ‘I am raw/like a deer/just born’. Hyperlove is a heart-aching paen to mysticism, pop music, the internet and desire.’ –Phoebe Stuckes.