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y separately published work icon Axon : Creative Explorations periodical issue  
Alternative title: Poetry : Writing, Thinking, Making
Issue Details: First known date: 2014... vol. 4 no. 1 July 2014 of Axon : Creative Explorations est. 2011 Axon : Creative Explorations
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Contents

* Contents derived from the , 2014 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Clicki"Some things must remain:", Marcella Polain , single work poetry
Bird, Blossomi"Bird, last year your mother dug her fingers into our garden,", Marcella Polain , single work poetry
Sensitivei"Everything shut will open again:", Tracy Ryan , single work poetry
Evaporative Water Cooleri"God knows where he rustled it up from.", Tracy Ryan , single work poetry
Crossing Myselfi"The stoup at the door is empty.", Tracy Ryan , single work poetry
Writing through Heteronyms : How the Mask Reveals, Philip Salom , single work criticism
'This is less an academic paper than a free-wheeling reflection on my recent practice of creating heteronyms in poetry. In it I discuss issues of identity not in a psychological sense but as the voice of a lyric self/persona/mask through which poets ‘sign’ their poetic insights to readers. These voicing devices are manipulated by the poet, consciously and unconsciously, and by language more comprehensively, to reveal (but also obscure) aspects of the poet’s ‘self’. They are often read as genuine and ‘true’, when they are clearly constructions. A poet may well hide behind such agency. With this much ambiguity in linguistic presence, poetic voice is a teasing and distinctive pathway of knowing, both in the writing process/discovery of poems by the poet and in the interpretive reading of those works by an audience. My own work—and thus my discussion—explores the shifts and ambiguities that take place through the license I receive when writing through heteronyms which reveal (or seem to reveal) personalities and values distinctly different from my own.' (Publication abstract)
When Language Catches Fire : On Making and Knowing Poetry, Jen Webb , single work interview
'Jen Webb and Liz Lochhead met in Epicures of Hyndland, in Glasgow, to talk about the making of poetry; though initially, because they live at opposite ends of the globe, they talked about travelling, communication and distance.' (Publication summary)
At the Riveri"No one reads this corny stuff,", Peter Rose , single work poetry
Goingi"That tree will shine when I am gone,", Peter Rose , single work poetry
Last Thingsi"When I think of you,", Peter Rose , single work poetry
Through the Poets Lens : Documentary Poetry and Historical Recovery, Jessica Wilkinson , single work criticism
'This essay discusses my attempts to meet the enigmatic character of Percy Grainger in writing—namely, through the intersection of poetry and biography, in the composition of an original work, Suite for Percy Grainger. This work extends from, and contributes to, the tradition of documentary poetry. To locate my work within this tradition, I will first look at three distinctly different works of documentary poetry—Charles Reznikoff’s Holocaust (1975), Mark Nowak’s Coal mountain elementary (2009) and Susan Howe’s The nonconformist’s memorial (1993) —each of which draws on, and utilises, historical/archival documents in order to explore real-world subjects and events through poetic frameworks. The first half of this essay will discuss how each of these three poets retrieves, selects, incorporates and adapts archival source material, in order to present Suite for Percy, in the second half of the essay, as a work that both draws on a varied tradition of documentary poetry, whilst also establishing its own pathways as a poetic exploration of the past.' (Publication abstract)
Notes Toward Transformalism(s) : A Poetics, Dan Disney , single work criticism
'From Mallarmé to Bernstein and on, creative producers have for their own reasons sought to terrestrialise the <> of the page. Exploring spatiality, this paper takes its cue from T.S. Eliot’s concluding remarks in ‘Reflections on Vers Libre’: ‘there is only good verse, bad verse, and chaos’ (Eliot 1965: 189). Eliot’s final clause—chaos—is mobilised here as generative and excursive, a strategy which can open heterotopic sites to problematise the horizontality of the poetic line.' (Publication abstract)
Negotiating 'Negative Capability' : The Role of Place in Writing for Two Australian Poets, Lynda Hawryluk , Leni Shilton , single work criticism

'This paper takes its lead from the poet John Keats’ notion of ‘negative capability’ (1891: 48), exploring some of the key methodologies of representing landscapes in writing, specifically using place to effect the process of ‘… being capable of being in uncertainties, Mysteries, doubt, without any irritable reaching after fact and reason …’ (48).

Keats refers to the poet as ‘taking part’ in the life of the poem; and being in the poem. This paper features our own poetry, located in two different landscapes and with its own understanding of place, which captures a sense of connection to rugged and remote terrains. To evoke this sense of connection, Keats’ negative capability comes into play—understood in this paper as a metaphysical space where a meditative state provides the writer with a ‘glimpse’; a recognition of that moment of connection without which ‘poetry cannot happen’ (Oliver 1994: 84)

Our writing, as will be discussed, is individually informed by knowledge about environment and notions of poetic space, where ‘aspects of the unconscious move into consciousness’ (Hetherington 2012: 8). This paper explores the commonalities and distinctions between our work, using brief examples.' (Publication abstract)
Darksi"Chopin saw Bb minor as charcoal", Kevin Gillam , single work poetry
Hieroglyphics of Now?i"people", Kevin Gillam , single work poetry
The Gaze of Hotel Ruini"Hope shored against abandon, however", Corey Wakeling , single work poetry
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