AustLit
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Contents
- Saigon the Moviei"James Bond flies into Phuket, which he pronounces", single work poetry (p. 14)
- Learning Para-linguisticsi"Hoping to articulate my relation to The Other", single work poetry (p. 15-16)
- Road to Lovinai"descending", single work poetry (p. 17-19)
- Tracker's Huti"The goldfields finance a botanic effect", single work poetry (p. 20)
- On Safarii"Such dirty work", single work poetry (p. 21-22)
- The Last Monkey of Sumatrai"We are not the first to promise love, release, or taunt", single work poetry (p. 23-24)
- Psychopathologies of the Commonplacei"inchoate & always coming back to a point of starting out", single work poetry (p. 25-26)
- Reflections in an Eyei"tracing contours", single work poetry (p. 27-28)
- Serial Composition [Red]i"a scaur of red granite cuts across the landscape", single work poetry (p. 29)
- Perpetuum Mobilei"nuanced like afterthoughts", single work poetry (p. 30-31)
- Utzoni"1. concrete primal naked forms-", single work poetry (p. 32-34)
- Untitled Abstract [Red, Black]i"ochre forms intervene in the serial", single work poetry (p. 35)
- Le Retrait de Magellani"the end is writing itself just as you knew", single work poetry (p. 36-37)
- The Meteorological Station after the Stormi"squares in spatial form like sounds, the effect of which", single work poetry (p. 38-39)
- Nature Morte : The Outlandsi"[cf gold mining / untitled abstract [date?-red tempera", single work poetry (p. 40)
- Composition [after Boyd, Nolan]i"fixed in mundane matter the prone body-", single work poetry (p. 41)
- Serial Landscape [Anamorphosis 2]i"archaic regression into the optical", single work poetry (p. 42-43)
- Island of Blood Island of Marrowi"Today across fields", single work poetry (p. 44-46)
- Low/Life, single work short story (p. 47-50)
- Art of Dissuasion : Ii"WHO divines forty million corbans within the cordan sanitaire of our tetragrammaton...", single work poetry (p. 51-52)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Who's Afraid of Poetic Invention? Anthologising Australian Poetry in the Twenty-First Century
2018
single work
criticism
— Appears in: JASAL , vol. 17 no. 2 2018;'There has been a rich history of anthologising Australian poetry this far into the twenty-first century. This article claims that contemporary poetics, with a renewed focus on the recoprocal relation between cultural and linguistic inquiry, can rediscover alternative ways of reading the history of Australian avant-garde, inventive and experimental work. Considering several key anthologies published after the turn of last century, the article provides readings of both the frameworks the anthology-makers provide and the poems themselves, claiming that mark, trace and lexical segmentivities can already be read as social. It then proposes a new possibility for an experimental anthology that might bring these facets into lived praxis: the chrestomathy.' (Publication abstract)
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'As the New / Gets Newer' : Rethinking the Possibilities of a New Australian Lyric
2013
single work
criticism
— Appears in: Southerly , vol. 73 no. 2 2013; (p. 153-164) -
Against Representation : Louis Armand and the Limits of New Australian Poetry
2011
single work
criticism
— Appears in: Antipodes , December vol. 25 no. 2 2011; (p. 191-196) -
Collecting the Contemporary : Australian Poetry Anthologies in the 'Noughties'
2008
single work
criticism
— Appears in: Poems in Perspex : Max Harris Poetry Award 2007 2008; (p. 112-118) -
Blowing Dandelions
2001
single work
review
— Appears in: Heat , no. 2 ( New Series) 2001; (p. 249-255)
— Review of Calyx : 30 Contemporary Australian Poets 2000 anthology poetry
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Strange messages
2001
single work
review
— Appears in: The Age , 6 January 2001; (p. 7)
— Review of Calyx : 30 Contemporary Australian Poets 2000 anthology poetry -
Poetry
2001
single work
review
— Appears in: The Times Literary Supplement , 5 January no. 5101 2001; (p. 29)
— Review of Calyx : 30 Contemporary Australian Poets 2000 anthology poetry'The subtitle of this anthology is slightly misleading in that it includes only poets who began to be published widely in the 1990s. One thing that Calyx obviously demonstrates, therefore, is the vibrancy of recent Australian poetry, the breadth and depth of recent talent and the considerable publishing opportunities which exist for new writers. The assurance and openness of much of the work reflects a sure sense of community and audience which it would be hard to find elsewhere. Calyx is further confirmation that Australian poetry has grown to worldwide prominence.' (Introduction)
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The Next Great Wright Hope
2001
single work
review
— Appears in: The Sydney Morning Herald , 27 January 2001; (p. 6)
— Review of Calyx : 30 Contemporary Australian Poets 2000 anthology poetry -
New Internationalism
2000
single work
review
— Appears in: Australian Book Review , November no. 226 2000; (p. 49-50)
— Review of Calyx : 30 Contemporary Australian Poets 2000 anthology poetry -
Beautifully Bound but Found Wanting
2001
single work
review
— Appears in: The Canberra Times , 26 May 2001; (p. 19)
— Review of Calyx : 30 Contemporary Australian Poets 2000 anthology poetry -
Against Representation : Louis Armand and the Limits of New Australian Poetry
2011
single work
criticism
— Appears in: Antipodes , December vol. 25 no. 2 2011; (p. 191-196) -
Collecting the Contemporary : Australian Poetry Anthologies in the 'Noughties'
2008
single work
criticism
— Appears in: Poems in Perspex : Max Harris Poetry Award 2007 2008; (p. 112-118) -
'As the New / Gets Newer' : Rethinking the Possibilities of a New Australian Lyric
2013
single work
criticism
— Appears in: Southerly , vol. 73 no. 2 2013; (p. 153-164) -
Who's Afraid of Poetic Invention? Anthologising Australian Poetry in the Twenty-First Century
2018
single work
criticism
— Appears in: JASAL , vol. 17 no. 2 2018;'There has been a rich history of anthologising Australian poetry this far into the twenty-first century. This article claims that contemporary poetics, with a renewed focus on the recoprocal relation between cultural and linguistic inquiry, can rediscover alternative ways of reading the history of Australian avant-garde, inventive and experimental work. Considering several key anthologies published after the turn of last century, the article provides readings of both the frameworks the anthology-makers provide and the poems themselves, claiming that mark, trace and lexical segmentivities can already be read as social. It then proposes a new possibility for an experimental anthology that might bring these facets into lived praxis: the chrestomathy.' (Publication abstract)