In April 2013, she was presented with Brunel University's inaugural African Poetry Prize, an award earmarked for poets who have yet to publish a full-length poetry collection. Shire has received various awards for her art. In addition, she teaches poetry workshops both globally and online for cathartic and aesthetic purposes.
She also serves as the poetry editor at SPOOK magazine.
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They have also been translated into a number of languages, including Italian, Spanish, Portuguese, Swedish, Danish and Estonian.Īs of 2015, Shire is working on her first full poetry collection. Additionally, Shire's verse has been featured in the Salt Book of Younger Poets (Salt, 2011) and Ten: The New Wave (Bloodaxe, 2014) collections. Her poems have been republished in various literary publications, such as the Poetry Review, Magma and Wasafiri. Shire has read her poetry in various artistic venues throughout the world, including the United Kingdom, Italy, Germany, North America, South Africa and Kenya. Her full collection is to be released in 2016 through flipped eye.
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In 2011, Shire released Teaching My Mother How To Give Birth, a poetry pamphlet published by flipped eye. As of 2015, she primarily resides in London Shire has a Bachelor of Arts in Creative Writing. She immigrated to the United Kingdom at the age of one. In this way, sounds and noises reveal important information on migrant identities and are central to narratives of inclusion and exclusion.Shire was born in 1988 in Kenya to Somali parents. Whilst sound appears as something constructed and orderly, noise – embodied by these accents, repetitions and hesitations – holds negative connotations of being disruptive and pointless. These mediums capture the emotions, accents, repetitions and hesitations that are often lost in other means of research, but that are given value in poetry and music. Indeed, Somalis use technological mediums, including social media, YouTube and cassette tapes, to disseminate their poetry and communicate across the diaspora. It emerges as a form of resistance with the ability to restore voice to those who feel like they have lost it. Sound has the potential to cross and dismantle borders through space and time, where the mobility of people is increasingly blocked by security controls and xenophobic policies.
Internationally, migrants and stateless/ racialised people are largely excluded by a focus on nation states and their citizens, where overlapping layers of oppression render them voiceless – without access to platforms for expressing their experiences and concerns. The impact on the speaker’s identity is found in her rhetorical question – “ Can’t you see it on my body?” Changing laws and regulations mean the threat of deportation is constant, and migrants remain stuck in both/ either mobility and/ or immobility: this is the condition of exile. These include the structural and racist complications migrants encounter once they reach their “final” destination, aligning with ideas of migrants as non-belonging and undeserving. In Conversations about home (at the deportation centre), her most famous poem, Shire recounts the reasons for leaving, the journey itself and the discrimination and state of precarity encountered within the host nation, supporting the notion of internal borders. Focusing on journeys thus gives voice and agency to migrants and legitimises their experiences of mobility and lives in exile. Journeys appear as formative, contrasting the common perspective in policy, media, and academia which focus on the causes and outcomes of migration and construct journeys as linear and as an in-between phase. Shire’s work highlights the instrumental role played by journeys in the formation of “hybrid” identities – the condition of “double consciousness” that develops in the liminal space between departure and destination.
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