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Sarah Day

Mud is loath to relinquish anything –
even in the name of science –
it will do so with a belch of methane
and black cloud in water.
The instruments are called ‘loggers’

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A Deep Black Sleep 

IHOS
by
28 February 2023
In 1990, composer and artistic director Konstantin Koukias and production director Werner Ihlenfeld founded IHOS Opera in Tasmania. Audiences were excited and astonished by the scale and ambition of the director’s vision when they attended his earlier, spectacular productions such as Days and Nights of Christ, To Traverse Water, and Tesla. ... (read more)

This is Sarah Day’s ninth collection and one of her most thematically diverse to date. She brings to the poems a thoughtful mix of environmentalism (particularly the unruly yet quiet presence of Tasmania’s natural beauty), her British roots (some of the best poems in the collection refer to the poet’s grandmother’s incarceration in an asylum), and a teacher’s precision with free verse. The poems are not overly experimental in terms of lineation, metre, language, or punctuation, and yet freshness of perspective and authenticity arise inevitably from the poet’s liquid observational engagement with the world’s affairs, whether this be with landscape, the global pandemic, racism, or science (planetary, oceanographic, microscopic).

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Acanthus by Claire Potter & Glass Flowers by Diane Fahey

by
June 2022, no. 443

Virginia Woolf, in her seminal essay on modern fiction (1919), might have been describing Claire Potter’s method in her fabulous and highly original new collection: Acanthus.  These poems seem to break apart consciousness before it becomes encoded, crystalised, as syntax. As a consequence, they have an uncanny and richly compelling ability to lead you away from the dimension in which you think you have entered the poem, in its opening lines, into something entirely different by the time you have reached the end. Somewhere between the beginning and the end something can be depended on to have shifted – mood, pace, imaginative compass bearing, subject plane.

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Damen O’Brien’s first collection is an exceptional accomplishment. His individual poems have won several competitions (including the 2017 Peter Porter Poetry Prize). O’Brien signals the emphases of Animals with Human Voices in his Afterword, stating that the world has become a ‘meaner’ place during the ten years of its completion: ‘a place of harsh politics, that values outrage over kindness, tribalism over empathy’. He concludes: ‘Like the animals of the title, the poems are voices for human problems and troubles, for the little moments and cares of the human condition.’

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There’s no getting away from things. / There is driving, then walking miles / along a quiet coast on a rising tide – / with the back-of-the-mind consciousness / that in an hour or so the sea ...

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'And to the other men from Afghanistan,
and Iran and Iraq, who prepared a feast for me
one midday, years ago on my way to work,
laid the clean sheet smooth ...'

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Sarah Day’s début collection, A Hunger to Be Less Serious (1987), married lightness of touch with depth of insight. In Towards Light & Other Poems (Puncher & Wattmann, $25 pb, 108 pp, 9781925780024), Day continues this project in poems concerned with light, a thing presented as both ...

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A. E. Houseman memorably said: I could no more define poetry than a terrier can define a rat. It’s not an easy matter to justify one’s decisions when faced with numerous poems from which to make a limited selection. There’s no programmatic guide to what makes a poem successful although the impact of a good poem is something we all know and recognise. ...

In this episode of Australian Book Review's States of Poetry podcast, State Editor Sarah Day introduces the Tasmanian anthology.