“There’s a hum of conversation in publishing circles about eBooks and most of what you read is coming from perspectives of publishers and writers. I wanted to find out what some readers think about eBooks.”—Miriam Zolin: eBooks and the Real Reader | SPUNC
Earlier today Google announced that it’s partnering with iRiver to release an e-reader that looks a lot like a first generation Kindle, but will give users direct access to the Google eBookstore, which has more than three million titles available for free download.
The poets are: Allan Boyd (aka the antipoet), Jeremy Balius, Liana Joy Christensen, Gabrielle Everall, Amber Fresh, Afeif Ismail, Janet Jackson, Sam Knee (aka Byron Bard), Dosh Luckwell, Kaitlyn Plyley and John Charles Ryan.
“Depending on whom you ask, these are either the best or the worst of times for the written word. As with every other branch of traditional media, the Internet has pushed the publishing industry to a critical inflection point, something we’ve previously discussed. Disrupting the mainstream marketplaces for journalism, literature, and the fundamental conventions of reading and writing themselves, here are seven startups that promise to reshape the way we create and consume ideas.”—
With the launch of my second poetry chapbook, Love and Fuck Poems, approaching, I thought it timely to write a post to hopefully generate some discussion about poetry and pornography, and the fine line between the two – or can they be the same thing?
There’s a kind of romantic myth around poets that the good ones die young. In this program we’ll hear the work of Dylan Thomas, Jennifer Rankin, Keith Douglas, Rupert Brooke, Lord Byron, Sylvia Plath, Percy Shelley, Philip Hodgins, Michael Dransfield and Wilfred Owen.
“1) When did you start writing and what motivated you?
2) Who are the writers who first inspired you to write and who are the writers you read now? What’s changed?
3) How important is ‘everyday life’ to your work?
4) What is the role or place of subjectivity in your poetry?
5) Do you see your work in terms of literary traditions and/or broader cultural or political movements?
6) What aspect of writing poetry and working as a poet is the most challenging?
7) What reading, other than poetry, is important to your work as a poet and why?
8) What is ‘Australian poetry’? Do you see yourself as an ‘Australian’ poet?
9) Don Anderson once described Australian poetry as Australia’s only “blood sport”. More recently critics have seen Australian poetry in terms of a “new lyricism” (David McCooey) and “networked language” (Philip Mead). What is the current state of play in Australian poetry? How do you think Australia poetry and discussions about Australian poetry might best develop in the next ten years?
10) How is poetry relevant or valuable to contemporary society and culture in Australia or at an international level?”—
Michael Brennan sent the above 10 questions to Australian poets Peter Minter, Vivian Smith, David Brooks, Martin Harrison, Kate Lilley, Judith Beveridge, Miriam Wei Wei Lo, Ali Alizadeh, Kevin Hart, Andy Quan, Michael Farrell, Peter Boyle, John Kinsella, Luke Davies, Jill Jones, David Malouf, Ouyang Yu, Chris Edwards, Claire Potter, Adam Aitken, Pam Brown, Gig Ryan, John Tranter, Laurie Duggan, Alan Wearne, Philip Hammial, Peter Skrzynecki and Katherine Gallagher. Yowsers!
“is our ‘reactionary attitude’ toward print writing being replaced by a ‘progressive reaction’ toward digital texts? According to Benjamin, modern technology ‘emancipates the work of art from a parasitical dependence’ on organised institutions, and by so doing, allows for a ‘simultaneous collective experience as was possible […] for the epic poem in the past’. Is online writing having a similar effect? Does it emancipate literature from a dependence on publishing hierarchies, by facilitating communal, participatory experiences similar to ‘epic’, that is, oral storytelling?”—
Ali Alizadeh looks at digital writing as a new oral, a new carnival.
The Channelling is a new literary magazine devoted to TV. That might seem like a strange marriage - between what are traditionally percieved as high and low artforms - but as television grows in quality [hello HBO! Thank you SBS’s Go Back To Where You Came From] and literature slumps a little, there is a chance to meet in the middle. Not that the writing here is middle brow - we are here to engage readers and debate the culture at large.