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Notes
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Dedication: For Harold, Karl, Alison and David: ... all gone into the world of light (Henry Vaughan)
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Epigraph: and so he keeps on losing//the argument with death - Geoff Page, 'The Book of His Addresses'
Contents
- Home Firesi"Dicing all day time against fuel", single work poetry (p. 8-9)
- Lambi"Seems to leap at some unseen will", single work poetry (p. 10)
- Givei"My small child, smooth, himself", single work poetry (p. 11)
- Rehearsali"Tiptoe and whisper, we crouch wherever", single work poetry (p. 12)
- Feveri"Never more opaque than", single work poetry (p. 13)
- Nurse, ERi"Never met elsewhere", single work poetry (p. 14-15)
- Swing Bridgei"We venture only midway", single work poetry (p. 16)
- School Runi"A dance of planets, orbits deftly", single work poetry (p. 17)
- Night Wakingi"It's that dream again, he tells me, kneeling", single work poetry (p. 18)
- Moon Over Valleyi"Hangs like a pregnant belly, her baby", single work poetry (p. 19)
- Wheatbelt Trainsi"Mostly turned out like my own coursing blood", single work poetry (p. 22-23)
- Pine Flowering Gumi"This frustration at imprecision", single work poetry (p. 24)
- Roma Tomatoesi"Over now, spent for the misplaced season, but while", single work poetry (p. 25)
- Broad Bean Meditationi"Firm and certain outcome of even the most slattern garden,", single work poetry (p. 26)
- The Freezei"The old house ticked down, its stored warmth", single work poetry (p. 27-28)
- Dusti"Picked out by sunlight or fault-", single work poetry (p. 29)
- Mouldi"Always an afterthought, last thing left", single work poetry (p. 30)
- Cobwebsi"Always an afterthought, last thing left", single work poetry (p. 31)
- Frogmouthi"It tears my eyes", single work poetry (p. 32-33)
- Deer and Sylviai"The velvet approach:", single work poetry (p. 34-35)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Bonny Cassidy Reviews Tracy Ryan
2013
single work
review
— Appears in: Long Paddock , vol. 73 no. 2 2013;
— Review of Unearthed 2013 selected work poetry ; The Argument : Poems 2011 selected work poetry -
Aspects of Australian Poetry in 2012
2013
single work
review
— Appears in: Westerly , June vol. 58 no. 1 2013; (p. 68-91)'T he act of reading for appraisal rather than pleasure is a privilege that brings me to a deepened understanding of the contemporary in Australian poetry, the way the past is being framed, its traditions, celebrities and enigmas washed up in new and hybrid appearances or redressed in more conventional, sometimes nimbus forms. Judith Wright wrote that the ‘place to find clues is not in the present, it lies in the past: a shallow past, as all immigrants to Australia know, and all of us are immigrants.’ The discipline of reading to filter such a range of voices underlines my foreignness, making reading akin to translation, whilst reciprocally inviting the reader of this essay to become a foreigner to my assumptions and conclusions.' (Introduction)
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Counter Cliche With Invention
2012
single work
review
— Appears in: Antipodes , December vol. 26 no. 2 2012; (p. 281-282)
— Review of The Argument : Poems 2011 selected work poetry -
Untitled
2011
single work
review
— Appears in: Tamba , Spring - Summer no. 49 2011; (p. 55)
— Review of The Argument : Poems 2011 selected work poetry
-
Untitled
2011
single work
review
— Appears in: Tamba , Spring - Summer no. 49 2011; (p. 55)
— Review of The Argument : Poems 2011 selected work poetry -
Counter Cliche With Invention
2012
single work
review
— Appears in: Antipodes , December vol. 26 no. 2 2012; (p. 281-282)
— Review of The Argument : Poems 2011 selected work poetry -
Bonny Cassidy Reviews Tracy Ryan
2013
single work
review
— Appears in: Long Paddock , vol. 73 no. 2 2013;
— Review of Unearthed 2013 selected work poetry ; The Argument : Poems 2011 selected work poetry -
Aspects of Australian Poetry in 2012
2013
single work
review
— Appears in: Westerly , June vol. 58 no. 1 2013; (p. 68-91)'T he act of reading for appraisal rather than pleasure is a privilege that brings me to a deepened understanding of the contemporary in Australian poetry, the way the past is being framed, its traditions, celebrities and enigmas washed up in new and hybrid appearances or redressed in more conventional, sometimes nimbus forms. Judith Wright wrote that the ‘place to find clues is not in the present, it lies in the past: a shallow past, as all immigrants to Australia know, and all of us are immigrants.’ The discipline of reading to filter such a range of voices underlines my foreignness, making reading akin to translation, whilst reciprocally inviting the reader of this essay to become a foreigner to my assumptions and conclusions.' (Introduction)