PASS PORT is a travel document—a transcript of the first half of the at-sea installation SOUNDING((ING))S, which `maps’ two means of crossing one border: by sea across the English Channel, and underneath the seabed through the Channel Tunnel. Bilingual wordplay destabilises two languages used to deny refugees movement across the English-French border. The installation offers the recovery and re-appropriation of sounds from and about the body—the female body in patriarchal language, the disabled body in an age of austerity and welfare cuts, and the asylum-seeking body within the EU. “Amy Evans derives her wordplay in part at least from the hermetic and ety-mological linguistic investigations of another modernist poet, H.D. … —sea/ water/flood puns run through her SOUND((ING))S sequence. They have the effect of being both witty and edgy: edgy in their exploration of the liminal bor-der of land/sea and edgy in conveying a sense of threat both to and from the sea.” —Harriet Tarlo, Plumwood Mountain Journal