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Notes
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Contents indexed selectively.
Contents
* Contents derived from the 2012 version. Please note that other versions/publications may contain different contents. See the Publication Details.
- International Writing Program, Iowa City, single work essay (p. 9-11)
- Cooking for Edward Albee, single work essay (p. 11-12)
- Leaving, single work essay (p. 13-15)
- Borroloola Bluei"All around our steel home’s broad bull-nosed verandah", single work poetry (p. 16)
- A World that Could Be Readi"To make an image, the silpa, who was devotee and craftsman,", single work poetry (p. 32-33)
- Letter to Tom Collins, single work correspondence (p. 47-55)
- Translating a ‘Prolog’i"In the spring sunshine, under wisteria through the ironbark—", single work poetry (p. 56-57)
- The Great Poet’s Genei"He dandied, but he suffered to renew", single work poetry (p. 58-59)
- Farmstayi"We've migrated north to nest in the cottage beside the dam held by the hills; our stories enter each other", single work poetry (p. 68-69)
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Another Year, Another Engrossing Crop,
single work
criticism
Many of the poems in Brook Emery's Collusion are about the sea, but the sea does more than supply him with material: it shapes his interaction with the world. Compared to the sea, the land is a much easier medium on which to project plans and migrations. Those close to the sea, however, tend to be less sanguine about such things. It is, after all, the element that, proverbially, we must never take for granted. Something of this respect enters Emery's work as a reluctance to draw conclusions: as if they were a step too far, or smacked of hubris. In his previous book, Uncommon Light (2007), the rhythms and thought patterns were those of the swimmer, for whom there was at least a sense of progression - even if only illusory, besides the sea's scale, and its gridlessness. In Collusion, however, there is little expectation of forward movement - with the caveat that though the poems do not arrive at understandings, they do converge towards an assertion of happiness. Many of the poems display a static antiphony between the self - most commonly represented as a question - and the universe of things that don't answer. Sometimes Emery addresses Ka a's K, the patron saint of fruitless questions. More often there is no addressee. Whatever the question, there will be no answer. Answers are claims, and by being so wary of them, Emery aligns himself with that broad spectrum of poets, across an increasingly wide range of poetics, who do not trust them.' (Author's abstract)
- Larvatus Prodeoi"The mask grafted so perfectly", single work poetry (p. 80)
- Grace Notei"It begins with a comparison: a budgie", single work poetry (p. 81)
- Keilor Cranium, single work short story (p. 90-97)
- Titty Anne and the Very, Very Hairy Man, single work short story (p. 98-107)
- The Late Visit, single work short story (p. 108-116.)
- The Googly, single work short story (p. 117-122)
- Eat. Shit. Die., single work short story (p. 123-132)
- My Last Birthday, single work short story (p. 133-138)
- I Should Be So Lucky, single work short story (p. 139-146)
- In Search of García Márquez, single work autobiography (p. 148-154)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Virtues of the Periodical
2013
single work
review
— Appears in: The Sydney Morning Herald , 2-3 March 2013; (p. 31) The Canberra Times , 2 March 2013; (p. 21)
— Review of Meanjin vol. 71 no. 4 Summer 2012 periodical issue
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Virtues of the Periodical
2013
single work
review
— Appears in: The Sydney Morning Herald , 2-3 March 2013; (p. 31) The Canberra Times , 2 March 2013; (p. 21)
— Review of Meanjin vol. 71 no. 4 Summer 2012 periodical issue
Last amended 4 Mar 2013 12:25:33
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