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Contents
* Contents derived from the
Rose Bay,
Sydney Eastern Harbourside,
Sydney Eastern Suburbs,
Sydney,
New South Wales,:Brandl and Schlesinger
, 1999 version. Please note that other versions/publications may contain different contents. See the Publication Details.
- The Stone Curlew : The Stone Curlew The Stone Curlew : From Within the Headi"I am writing this inside the head", single work poetry (p. 13)
- The Stone Curlew : The Pheasant Tailed Jacana The Stone Curlew : Pheasant-Tailed Jacanai"A school of garfish scatters around", single work poetry (p. 14)
- The Stone Curlew : The Great Knoti"Alterant birds, alterant words and Bunting's", single work poetry (p. 15)
- The Stone Curlew : Arctic Jaeger The Stone Curlew : Arctic Jaegeri"This one comes between the light", single work poetry (p. 16)
- The Stone Curlew : The Whimbrel The Stone Curlew : Whimbreli"All break, jabbing sand to pierce the cryptic", single work poetry (p. 17)
- The Stone Curlew : The Southern Skuai"The skua flew into our heads in '68,", single work poetry (p. 18)
- When the Light Slants Against the Tidei"We arrive by boat, rowing ourselves home.", single work poetry (p. 21)
- Drum of Firei"Out the back my father burning off;", single work poetry (p. 22-23)
- In the Open Airi"The beach is high with the smell of kelp--", single work poetry (p. 24)
- At Berry's Bayi"A boy crawls through dawn's beams", single work poetry (p. 25-26)
- Swimming Out with Emmylou Harrisi"A long curved horizon, the hazel", single work poetry (p. 27-28)
- Tropic Birdi"Wakes from nimbus cut to streaks", single work poetry (p. 29-30)
- Kingfishers Appearingi"A circle of blue falls over", single work poetry (p. 31)
- Crows in Afternoon Sunlighti"How close can a human get to a crow,", single work poetry (p. 32)
- The Gathering Lighti"Morning shines on the cowling of the Yamaha", single work poetry (p. 33)
- Meaningi"A black summer night, no moon, the thick air", single work poetry (p. 37-38)
- The Night Heroni"Midnight, my mind's full of ink tonight,", single work poetry (p. 39-40)
- The Bunkeri"My walls are made of fish scales, we slip", single work poetry (p. 41-42)
- John Riley's Murderi"Floating across Jerusalem Bay --", single work poetry (p. 43-44)
- The White Abyssi"After a life, the next decade", single work poetry (p. 45-46)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Damaged Edens
single work
review
— Review of Black Water : Approaching Zukofsky 1999 selected work poetry ; Wicked Heat 1999 selected work poetry ; Empty Texas 1999 selected work poetry ; Conscious and Verbal 1999 selected work poetry -
The Orphic Strain in Australian Poetry
2011
single work
criticism
— Appears in: Refashioning Myth : Poetic Transformations and Metamorphoses 2011; (p. 9-27) 'Andrew Johnson argues that "[w]hile poetry in Australia might broadly be read under the aegis of Romanticism, the various Orphic poems could be used as an index of different styles and schools," and claims that "the different approaches and interests of various poets could be measured by their varied responses to the Orphic material." Johnson applies this framework to a close reading of several key Australian poets, including A. D. Hope and the notorious "mythical" poet, Ern Malley.' (Source: Introduction p. 2)
-
Adamson's Poetry Plays in the Gap Between Language and Nature
1999
single work
review
— Appears in: Antipodes , December vol. 13 no. 2 1999; (p. 133-134)
— Review of Black Water : Approaching Zukofsky 1999 selected work poetry -
Approaching Zukofsky
1999
single work
review
— Appears in: Australian Book Review , August no. 213 1999; (p. 36)
— Review of Black Water : Approaching Zukofsky 1999 selected work poetry -
Straight to the Heart
1999
single work
review
— Appears in: The Sydney Morning Herald , 13 November 1999; (p. 10)
— Review of Poets and Others 1999 selected work poetry ; Don't Start Me Talking : Lyrics 1984-1999 1999 selected work poetry ; Everything Holy 1998 selected work poetry ; Black Water : Approaching Zukofsky 1999 selected work poetry
-
Routines & Revelations: New Poetry
1999
single work
review
— Appears in: Overland , Summer no. 157 1999; (p. 109-111)
— Review of Dear B 1998 selected work poetry ; The Harbour 1998 selected work poetry ; Waterline 1999 selected work poetry ; Friendly Street Poets Twenty-Three : Beating Time in a Gothic SpaceBeating Time In a Gothic Space 1999 anthology poetry ; Everything Holy 1998 selected work poetry ; Infinite City : 100 Sonnetinas 1999 selected work poetry ; Aerial Photography 1999 selected work poetry ; Landbridge : Contemporary Australian Poetry 1999 anthology poetry ; Black Water : Approaching Zukofsky 1999 selected work poetry -
Dancing with Words
1999
single work
review
— Appears in: The Canberra Times , 25 September 1999; (p. 22)
— Review of Poets and Others 1999 selected work poetry ; Black Water : Approaching Zukofsky 1999 selected work poetry -
Poets of the Light and the Dark
1999
single work
review
— Appears in: The Age , 25 September 1999; (p. 10)
— Review of Poets and Others 1999 selected work poetry ; Black Water : Approaching Zukofsky 1999 selected work poetry -
Following Zukovsky: Reading Bruce Beaver and Robert Adamson
1999
single work
review
— Appears in: Southerly , Spring-Summer vol. 59 no. 3-4 1999; (p. 393-402)
— Review of Poets and Others 1999 selected work poetry ; Black Water : Approaching Zukofsky 1999 selected work poetry -
Straight to the Heart
1999
single work
review
— Appears in: The Sydney Morning Herald , 13 November 1999; (p. 10)
— Review of Poets and Others 1999 selected work poetry ; Don't Start Me Talking : Lyrics 1984-1999 1999 selected work poetry ; Everything Holy 1998 selected work poetry ; Black Water : Approaching Zukofsky 1999 selected work poetry -
The Orphic Strain in Australian Poetry
2011
single work
criticism
— Appears in: Refashioning Myth : Poetic Transformations and Metamorphoses 2011; (p. 9-27) 'Andrew Johnson argues that "[w]hile poetry in Australia might broadly be read under the aegis of Romanticism, the various Orphic poems could be used as an index of different styles and schools," and claims that "the different approaches and interests of various poets could be measured by their varied responses to the Orphic material." Johnson applies this framework to a close reading of several key Australian poets, including A. D. Hope and the notorious "mythical" poet, Ern Malley.' (Source: Introduction p. 2)
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