Abstract
It is widely known that Emily Berry (1981-), acclaimed London poet, describes some fixation of oral sensitivity in her work, especially in a particular poem “Our Love Could Spoil Dinner”. Similarly, another much younger poet Jenna Clake (1992-), while showing her deep concern with Berry in “HNY” (the poem actually begins ‘after Emily Berry’), writes “Pink Grapefruit” in which the oral sensitivity is foregrounded. Through a close reading of those poems, the present article will attempt to illustrate how Clake infuses the depths of oral sensitivity for her descriptions. Interestingly, Heather McAlpine’s re-reading of the imagery of “lips”, in part, through Mikhail Bakhtin can encourage us to investigate the meaning of Clake’s such infusion, by discussing the issue of the significant representation of the human mouth as a corporeal embodiment. Indeed, compared with other body functions, oral parts organize as the points at which the self and the world most peculiarly interpenetrate. Additionally, as my ultimate aim, I will demonstrate that physical manifestations of oral sensitivity can be significantly related with possible creative writings by which we can depict oral sensitivity in the world of fiction.
https://ror.org/02pc6pc55 
