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- Kitschi"At the stage of the gouda, jatz & french bread", single work poetry
- In the Stablei"General,", single work poetry
- Cream and Salti"Winsome in velvet", single work poetry
- Occupationsi"I twist the fuse wire", single work poetry
- Tastei"We eat", single work poetry
- Atmospherei"Colonial decor.", single work poetry
- The Consorti"She smokes as he studies", single work poetry
- The Magnetroni"Seascape", single work poetry
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
The Lives of Others : Tactics of Encounter and Wandering in Jennifer Maiden's Poetry
2011
single work
criticism
— Appears in: Australian Literary Studies , May vol. 26 no. 1 2011; (p. 51-68)In' this discussion of Maiden's poetics, Cassidy looks at the way she has 'developed and refined a poetics motivated by her belief in "living out an idea" in poetic form', 'using the idiom of warfare to compare various scenarios of human conflict: from Vietnam to Iraq, and from the White House to the kitchen sink' (p. 51). She shows how Maiden, despite using an extended trope of war 'has continued to suspend the poetic space above political partisanship, through ironic approaches to voice and form, such as parataxis, compounded similes, and pastiche of tone and image. This heightened poetics has provided an enlighteningly self-reflexive enactment of her earliest poems. By demanding that her readers make a decision about how they encounter the poetic space, Maiden's poetry possesses a politics without being political, just as it possesses an ethics without morality.' (p. 68)
-
'Mystification and Outrage' or 'Who Did Steal the Tarts?': Obscurity and Violence in Contemporary Australian Poetry
1976
single work
review
— Appears in: Southerly , September vol. 36 no. 3 1976; (p. 331-356)
— Review of The Occupying Forces 1975 selected work poetry ; Conversations 1974 selected work poetry ; Faces of a Sitting Man 1975 selected work poetry ; Turn Left at Any Time With Care : Poems 1975 selected work poetry ; Creekwater Journal 1974 selected work poetry ; Poems 1974 selected work poetry ; Memoirs of a Velvet Urinal 1975 selected work poetry ; Love Tree of the Coomera 1975 selected work poetry ; Vice Versa : Verses and Poetry 1975 selected work poetry ; Marsupial Wrestling : A Small Zoo of Pomes 1975 selected work poetry ; The Poor Man's Bean 1975 selected work poetry ; Chockablock with Dawn 1975 selected work poetry ; Swamp Riddles 1974 selected work poetry ; Rapunzel in Suburbia 1975 selected work poetry ; Children and Other Strangers : Poems 1975 selected work poetry ; Deaths and Pretty Cousins 1975 selected work poetry ; The Dragon Principle 1975 selected work poetry ; Dimensions 1976 selected work poetry ; Quiet Flowers 1975 selected work poetry ; Believed Dangerous : Fifty Eight Poems 1975 selected work poetry ; Smalltown Memorials 1975 selected work poetry ; Airship 1975 selected work poetry ; Come to Me My Melancholy Baby 1975 selected work single work poetry prose ; In from the Sea 1974 selected work poetry ; Leaf-Fall : poems 1974 selected work poetry ; Odes and Days : Poems 1975 selected work poetry ; Time & Motion 1975 selected work poetry ; Wild Honey 1974 selected work poetry ; The Amazing Scaffold 1975 selected work poetry ; The Problem of Evil 1975 selected work poetry ; Tactics 1974 selected work poetry ; Isaac Babel's Fiddle 1975 selected work poetry -
Untitled
1975
single work
review
— Appears in: The Australian , 11 October 1975;
— Review of The Occupying Forces 1975 selected work poetry
-
'Mystification and Outrage' or 'Who Did Steal the Tarts?': Obscurity and Violence in Contemporary Australian Poetry
1976
single work
review
— Appears in: Southerly , September vol. 36 no. 3 1976; (p. 331-356)
— Review of The Occupying Forces 1975 selected work poetry ; Conversations 1974 selected work poetry ; Faces of a Sitting Man 1975 selected work poetry ; Turn Left at Any Time With Care : Poems 1975 selected work poetry ; Creekwater Journal 1974 selected work poetry ; Poems 1974 selected work poetry ; Memoirs of a Velvet Urinal 1975 selected work poetry ; Love Tree of the Coomera 1975 selected work poetry ; Vice Versa : Verses and Poetry 1975 selected work poetry ; Marsupial Wrestling : A Small Zoo of Pomes 1975 selected work poetry ; The Poor Man's Bean 1975 selected work poetry ; Chockablock with Dawn 1975 selected work poetry ; Swamp Riddles 1974 selected work poetry ; Rapunzel in Suburbia 1975 selected work poetry ; Children and Other Strangers : Poems 1975 selected work poetry ; Deaths and Pretty Cousins 1975 selected work poetry ; The Dragon Principle 1975 selected work poetry ; Dimensions 1976 selected work poetry ; Quiet Flowers 1975 selected work poetry ; Believed Dangerous : Fifty Eight Poems 1975 selected work poetry ; Smalltown Memorials 1975 selected work poetry ; Airship 1975 selected work poetry ; Come to Me My Melancholy Baby 1975 selected work single work poetry prose ; In from the Sea 1974 selected work poetry ; Leaf-Fall : poems 1974 selected work poetry ; Odes and Days : Poems 1975 selected work poetry ; Time & Motion 1975 selected work poetry ; Wild Honey 1974 selected work poetry ; The Amazing Scaffold 1975 selected work poetry ; The Problem of Evil 1975 selected work poetry ; Tactics 1974 selected work poetry ; Isaac Babel's Fiddle 1975 selected work poetry -
Untitled
1975
single work
review
— Appears in: The Australian , 11 October 1975;
— Review of The Occupying Forces 1975 selected work poetry -
The Lives of Others : Tactics of Encounter and Wandering in Jennifer Maiden's Poetry
2011
single work
criticism
— Appears in: Australian Literary Studies , May vol. 26 no. 1 2011; (p. 51-68)In' this discussion of Maiden's poetics, Cassidy looks at the way she has 'developed and refined a poetics motivated by her belief in "living out an idea" in poetic form', 'using the idiom of warfare to compare various scenarios of human conflict: from Vietnam to Iraq, and from the White House to the kitchen sink' (p. 51). She shows how Maiden, despite using an extended trope of war 'has continued to suspend the poetic space above political partisanship, through ironic approaches to voice and form, such as parataxis, compounded similes, and pastiche of tone and image. This heightened poetics has provided an enlighteningly self-reflexive enactment of her earliest poems. By demanding that her readers make a decision about how they encounter the poetic space, Maiden's poetry possesses a politics without being political, just as it possesses an ethics without morality.' (p. 68)
