How to sum up the Poetry and the Contemporary Symposium held at Melbourne’s Trades Hall under the auspices of Deakin University – three days of esteemed, associated, unknown, expert, dilettante, crystalline, recondite, modest, bold and blusterous papers and events
“The Australian poetry community lost one of its true characters this past week… Foundation editor of haiku journal paper wasp, driving force behind Post Pressed and internationally recognised haijin, John Knight, passed away after a long battle with cancer.”—Big man’s last wave | Another Lost Shark
“Rabbit is proud to officially announce the addition of Bonny Cassidy (essay editor) and Corey Wakeling (reviews editor) to the Rabbit editorial team. The fourth issue of Rabbit (pop) will conclude the first volume of the journal and it is shaping up to be a bumper easter bunny/issue (submissions close MARCH 15). The launch of issue 4 will be proceeded by a revamped website and a bunch of other exciting news and developments are predicted to come. Stay tuned!”—rabbitpoetry | a journal for non-fiction poetry
As far as most American poetry readers are concerned, “Down Under” might as well be synonymous with “Out of Sight, Out of Mind.” The most recent edition of The Norton Anthology of Modern and Contemporary Poetry, for example, includes approximately 130 authors from the United States and nearly 50 from the United Kingdom and the Republic of Ireland. In contrast, Australia, a country with a vibrant, well developed, two-centuries-long tradition of English-language verse, is represented by a mere three names: A. D. Hope, Judith Wright, and Les Murray.
lareviewofbooks: A bumper crop of poetry reviews: BRIAN REED on Les Murray and John Kinsella.
A number of years ago I ran into an acquaintance in the library (he worked there; I merely frequented the place) and he asked what I’d been reading lately. I mentioned that I had recently begun reading a lot of Polish poetry. His response was that he…
Onlymeith’s production of my poem crying at the poetry reading is beautiful in its simplicity – the lone cello, beautiful use of pauses for emphasis, the blended piano and strings which give the listener time to reflect on the words without schmaltziness. It’s always rewarding to see your own work taken one level higher by someone else. I couldn’t hope for better.
“I really thought it was a shame that poets from outside of the English language in Europe were never recognised until they had reached middle age and a certain ‘prominence’ in their own countries. I also wanted to present a truly representative sense of what poetry is for different traditions and methodologies, from the most traditional to the most avant garde.”—
Poetry International, in collaboration with 3:AM Magazine, is showcasing a group of amazing young European poets. Steven Fowler (quoted above), the Editor of the Maintenant Interview Series, began this project in January 2010 as a result of experiencing the differing, and inspirational, attitudes of European poetic cultures and how they contrasted to the UK.
“Paul Laforge: “The Wikipedia entry for hypertext fiction lists no works published after 2001, and although Wikipedia isn’t the final word on anything, you have to think, if someone had written a hypertext fiction, this is where they’d want to tell you about it. The form’s seeming demise is puzzling…”—What was hypertext? | johntranter.com/journal
“I’ve decided to compile a list of forthcoming Australian poetry titles to give readers and reviewers a gander at the goose that is 2012. It’s not exactly complete. Some publishers haven’t written back to me and others have been a bit peeky, too shy to bare all. And fair enough: they’re all independent. Not like those big publishing houses who don’t do poetry. Anyway, mine is a knee-length skirt of a list, covering new works by poets who haven’t released anything in a while, a few New & Selecteds and Collecteds, and some first books by emerging poets.”—Toby Fitch in Southerly
“JOSE Kozer’s own prologue is a fitting introduction to this breathtaking series of 64 poems, almost all of which have the same name: “A sixty-year-old man writes a poem and entitles it Anima. Days later he writes another poem with a tone similar to the first, entitles it Anima, then realises he has just begun a series which must all bear the same title.”—
The short list for the Mary Gilmore Award 2010/2011: Warwick Anderson, Hard Cases, Brief Lives (Ginninderra) Peter Coghill, Rockclimber’s Hands (Picaro) Rosanna Licari, An Absence of Saints (UQP) Vlanes, Another Babylon (UQP) Chloe Wilson, The Mermaid Problem (APC) Fiona Wright, Knuckled (Giramondo)
In this post, I look back on my years as editor, and pick my top eleven choicest moments from what has been a thrilling, exhausting and ultimately life-affirming rollercoaster ride of love and passion. Or something. *wipes away tears*
“Really, Dransfield was not a key figure in poetry for anything other than his untimely, tragic death at 24 in 1973. As John Forbes contended - he died too soon. Dead now for over 25 years - he missed out on some exciting isms. He missed feminism, he missed gay liberation and, given his (typical-of-the-times) problems with girlfriends and his sexual ambiguity he might have enjoyed those movements. He missed a Labor government, he missed the end of the war against Vietnam, he missed multiculturalism and the rise of environmental & aboriginal rights movements. He missed performance poetry, Sylvia & the Synthetics, the Film-makers Co-op, the Tin Sheds, the Poets Union, pub readings, Town Hall dances, Jura Books readings at La Pena, the Poets’ Balls - events and organisations which could have provided a deepening and an accompanying sense of celebration for him as they’ve done for every poet who outlived him.”—
“Thank you, Gina Rinehart. As the editor of a long-running poetry journal, I thank Rinehart for putting the noble art of verse in the media spotlight. The critics, as Rinehart knows, are harsh. They criticise your poetry. They criticise your attempts to become a media magnate. They are probably going to abduct your children. That could be handy, because you don’t like your children very much, but that is nobody else’s business. Get off my lawn.”—As a poet, Rinehart makes a great billionaire | Heathen Scripture
“In this week’s mini-episode we about the Women of Letters anthology, a book edited by Michaela Maguire and Marieke Hardy, collecting letters written at the Melbourne-based event where women are asked to write letters to a themed topic. Join Sam Twyford-Moore, Rebecca Giggs and Astrid Lorange as they discuss their favourites.”—Rereaders Extract/ The Lost Tape: The “Women of Letters” Issue – The Rereaders
“Aboriginal people are far more written about than heard, more often the subject of journalistic, medical, sociological, anthropological, and fictional narratives than the author. White society has a way of asking what role Indigenous people might play in ‘our’ narrative, even when that narrative purports to be inclusive and generous. When we look for an Indigenous narrative, all too often it is written by and for whites.”—
Writer Andrew McMillan has died at his home in Darwin. Born in Brisbane, the journalist, poet and musician settled in the Northern Territory after covering the 1988 Midnight Oil / Warumpi Band tour. In a statement released following his death, McMillan was described as ‘one of the Territory’s great eccentrics — but also one of its best contemporary writers’.
I am delighted to be included in the line up for this year’s Poets’ Picnic run by Woollhara Municipal Council and the Woollhara Library, taking place this coming Tuesday evening, 21 February. I’d heard about this annual event from a number of people, and was honoured to be invited to…
“This issue of Cordite Poetry Review is my last as Managing Editor. After eleven years I feel that the time has come for renewal and fresh energy. Therefore I’m also very pleased to announce, after a lengthy selection process, that our new Managing Editor will be Kent MacCarter.”—
David Prater has handed the editorship of Cordite over to Kent MacCarter.
Each year Meanjin awards a prize for the best poem to be published in Meanjin in the course of a year. In 2011, however, the judges we unable to chose between two poems, All Eyes by Stephen Edgar and Fairy by Fiona Britton and awarded the prize jointly.