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'"I think of how Pound defined the image as `that which presents an intellectual and emotional complex in an instant of time'; and, still being thoroughly sane back in 1913, he went on to say: `the natural object is always the adequate symbol'. Such an imagist doctrine has always been at the heart of Laurie Duggan's sharp-eyed work, ever since the days when he was at the core of a group who got together at Monash, back in the 1960s." -Chris Wallace-Crabbe
'Duggan's poetry has the virtue that it never `abandons the local'. Like Paul Blackburn-a poet Duggan manifestly admires-he builds his work out of what he finds in, on or about the premises." -Tony Baker, Jacket
'"How ferociously Duggan attends both to the there of the world . . . and the here of writing." -John Latta, Isola di Rifiu' (Publication summary)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Laurie Duggan : Homer Street; Selected Poems: 1971 – 2017
2020
single work
review
— Appears in: Australian Poetry Review , no. 15 2020;
— Review of Homer Street 2020 selected work poetry ; Selected Poems 1971-2017 2018 selected work poetry'An earlier book, Leaving Here, was built around Laurie Duggan’s move to England in 2006. Homer Street is a kind of counterpart, being based on final poems in England before a return to Australia at the end of 2018. The first of its three sections is a farewell to England in the form of a valedictory poem, fittingly called, for such a visual poet, “A Closing Album” and a set of additions to his English-based series, “Allotments”. This structure (and structure is one of the things I will focus on in this brief review) is repeated in the second section where an initial poem, “Six Notes for John Forbes”, is followed by a set of additions to the Australian equivalent of “Allotments”, “Blue Hills”. The third section is an anthology of poems about painters, “not strictly ekphrastic works” as a note at the end says, but reflecting in their variety of approaches something of Duggan’s larger methods which have always involved a variety of responses to the world itself.' (Introduction)
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Dan Disney Reviews Laurie Duggan’s Selected Poems 1971–2017
2020
single work
review
— Appears in: Cordite Poetry Review , May no. 96 2020;
— Review of Selected Poems 1971-2017 2018 selected work poetry'Laurie Duggan has long been a star within the light-filled firmaments of Australian poetry that first burst into prominence around five decades ago. A so-called ‘Monash poet’, Duggan’s recently published Selected Poems is suffused with images in which he trains an unrelentingly quizzical, reverent eye across apparently mundane terrains...' (Introduction)
-
Dan Disney Reviews Laurie Duggan’s Selected Poems 1971–2017
2020
single work
review
— Appears in: Cordite Poetry Review , May no. 96 2020;
— Review of Selected Poems 1971-2017 2018 selected work poetry'Laurie Duggan has long been a star within the light-filled firmaments of Australian poetry that first burst into prominence around five decades ago. A so-called ‘Monash poet’, Duggan’s recently published Selected Poems is suffused with images in which he trains an unrelentingly quizzical, reverent eye across apparently mundane terrains...' (Introduction)
-
Laurie Duggan : Homer Street; Selected Poems: 1971 – 2017
2020
single work
review
— Appears in: Australian Poetry Review , no. 15 2020;
— Review of Homer Street 2020 selected work poetry ; Selected Poems 1971-2017 2018 selected work poetry'An earlier book, Leaving Here, was built around Laurie Duggan’s move to England in 2006. Homer Street is a kind of counterpart, being based on final poems in England before a return to Australia at the end of 2018. The first of its three sections is a farewell to England in the form of a valedictory poem, fittingly called, for such a visual poet, “A Closing Album” and a set of additions to his English-based series, “Allotments”. This structure (and structure is one of the things I will focus on in this brief review) is repeated in the second section where an initial poem, “Six Notes for John Forbes”, is followed by a set of additions to the Australian equivalent of “Allotments”, “Blue Hills”. The third section is an anthology of poems about painters, “not strictly ekphrastic works” as a note at the end says, but reflecting in their variety of approaches something of Duggan’s larger methods which have always involved a variety of responses to the world itself.' (Introduction)