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Joel Scott Joel Scott i(A119231 works by)
Born: Established: Sydney, New South Wales, ;
Gender: Male
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Works By

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1 Nadelstich i "i don’t know who my friends are, their names keep changing, as if geometry had", Joel Scott , 2019 single work poetry
— Appears in: Overland , Autumn no. 234 2019; (p. 27-28)
1 Magenta i "holding the weapon asking you to step down", Joel Scott , 2016 single work poetry
— Appears in: Writing to the Wire 2016; (p. 123)
1 Trauerring i "the image is lossy, you", Joel Scott , 2015 single work poetry
— Appears in: Overland , Summer no. 221 2015; (p. 82)
1 Hypothesis = Hipótesis i "The ideas are not ours, but from some neighbour, = Las ideas no son propias, sino de algún vecino,", Juan Diego Otero , Joel Scott (translator), 2015 single work poetry
— Appears in: Cordite Poetry Review , 1 October no. 52.0 2015;
1 Turin, 1889 i "A horse isn’t like a dog. = Un caballo no es como un perro.", Juan Diego Otero , Joel Scott (interviewer), 2015 single work
— Appears in: Cordite Poetry Review , 1 October no. 52.0 2015;
1 Zenith / Cenit i "Since I fell from that branch = Desde que caí de esa rama", Juan Diego Otero , Joel Scott (translator), 2015 single work poetry
— Appears in: Cordite Poetry Review , 1 October no. 52.0 2015;
1 Portal i "Standing in the centre like this, = Parado en el centro así,", Juan Diego Otero , Joel Scott (translator), 2015 single work poetry
— Appears in: Cordite Poetry Review , 1 October no. 52.0 2015;
1 Origami i "This city has not dared = Esta ciudad no se ha atrevido", Juan Diego Otero , Joel Scott (translator), 2015 single work poetry
— Appears in: Cordite Poetry Review , 1 October no. 52.0 2015;
1 Poem i "i plunged my fist into your chest and discovered the heart i licked my discovery", Joel Scott , 2015 single work poetry
— Appears in: Cordite Poetry Review , no. 50.0 2015;
1 Surplus i "A surplus of appendages.", Joel Scott , 2015 single work poetry
— Appears in: Cordite Poetry Review , 1 February no. 49.0 2015;
1 y separately published work icon Dairy Farm Joel Scott , Sydney : Vagabond Press , 2014 7556010 2014 selected work poetry

'The poems in DIARY FARM are cells in a dispersed field spanning Berlin and Sydney. The experiences in them are scattered; patterns of distracted consciousness. The dispersion occurs through bodies, hearts, language(s), boats. News and political disaster sprayed through the feed channels and coughed back up, rearranged around the space of the page.' (Publication summary)
1 Crazed i "I suppose, given the necessary restrictions, I might be", Joel Scott , 2013 single work poetry
— Appears in: Rabbit , Autumn no. 8 2013; (p. 71-72)
1 1 y separately published work icon Unlocked : Nowra Unlocked : South Coast Correctional Centre Joel Scott (editor), Johanna Featherstone , Lionel Fogarty , Nick Bryant-Smith , Darlinghurst : The Red Room Company , 2013 6517873 2013 anthology poetry

'The South Coast Correctional Centre is located near Nowra, a little more than two hours south of Sydney.The centre houses uup to 600 inmates, mostly men. In early October 2012 The Red Room Company's Artistic Director Johanna Featherstone headed to Nowra with poets Lionel Fogarty and Nick Bryant-Smith to run intensive poetry workshops over three days. Like other 2012 Unlocked projects, The South Coast Correctional Centre workshops focused on Indigenous inmates, in response to the deeply troubling over-representation of Indigenous Australians in prisons.' (Source: Redroom Company website)
1 y separately published work icon Unlocked : Balund-a Joel Scott (editor), Johanna Featherstone , Lionel Fogarty , Darlinghurst : The Red Room Company , 2013 6516280 2013 anthology poetry

Poems by inmates at Balund-a Diversionary Program, Tabulam, New South Wales.
1 Fete Accompli i "Watching into a window, thinking", Joel Scott , 2013 single work poetry
— Appears in: Overland , Spring no. 212 2013; (p. 91-93)
1 Nouvelle Vague Put a String on It i "hanging my happiness on a boiled egg,", Joel Scott , 2013 single work poetry
— Appears in: Cordite Poetry Review , 1 June no. 42 2013;
1 Post Strut i "Everybody’s unanimous critique of the poststructural.", Joel Scott , 2012 single work poetry
— Appears in: Southerly , vol. 72 no. 2 2012; (p. 75-76)
1 Sadly i "Ability is not the end cause and justly–", Joel Scott , 2012 single work poetry
— Appears in: Cordite Poetry Review , 1 May vol. 38 no. 0 2012;
1 Joel Scott Reviews Southerly Joel Scott , 2010 single work review
— Appears in: Cordite Poetry Review , December vol. 34 no. 2010;
— Review of Southerly vol. 70 no. 1 2010 periodical issue
1 Writing Through : Practising Translation Joel Scott , 2010 single work criticism
— Appears in: Portal , vol. 7 no. 1 2010; This essay exists as a segment in a line of study and writing practice that moves between a critical theory analysis of translation studies conceptions of language, and the practical questions of what those ideas might mean for contemporary translation and writing practice. Although the underlying preoccupation of this essay, and my more general line of inquiry, is translation studies and practice, in many ways translation is merely a way into a discussion on language. For this essay, translation is the threshold of language. But the two trails of the discussion never manage to elude each other, and these concatenations have informed two experimental translation methods, referred to here as Live Translations and Series Translations. Following the essay are a number of poems in translation, all of which come from Blanco Nuclear by the contemporary Spanish poet, Esteban Pujals Gesalí. The first group, the Live Translations consist of transcriptions I made from audio recordings read in a public setting, in which the texts were translated in situ, either off the page of original Spanish-language poems, or through a process very much like that carried out by simultaneous translators, for which readings of the poems were played back to me through headphones at varying speeds to be translated before the audience. The translations collected are imperfect renderings, attesting to a moment in language practice rather than language objects. The second method involves an iterative translation process, by which three versions of any one poem are rendered, with varying levels of fluency, fidelity and servility. All three translations are presented one after the other as a series, with no version asserting itself as the primary translation. These examples, as well as the translation methods themselves, are intended as preliminary experiments within an endlessly divergent continuum of potential methods and translations, and not as a complete representation of a methodology. [Author's abstract]
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