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Poetry

This week on the ABR Podcast we consider a poetics of contemplation with Scott Stephens. In his review of Kevin Hart’s book on reading and thinking, Lands of Likeness, Stephens writes, ‘there is no desire to consume the object of contemplation; what there is, is a longing to understand’. Scott Stephens is the ABC’s Religion & Ethics online editor and the co-host, with Waleed Aly, of The Minefield on ABC Radio National. Listen to Scott Stephens’ ‘Nothing but kestrel: Kevin Hart’s invitation to read contemplatively’, published in the March issue of ABR.

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Mishearing by David Musgrave & AfterLife by Kathryn Lomer

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March 2024, no. 462

Mishearing, David Musgrave’s latest, most experimental poetry collection, arose from deliberately generated ‘mishearings’ of poems he read into Microsoft Word’s 2003 in-built speech recognition software. The software was by default ‘trained’ to a North American accent. Musgrave didn’t reprogram to an Australian accent, held the microphone at changing distances from his mouth, occasionally smothered it, and introduced ambient noise to heighten the software’s mistranscription. He read from the work of various poets, ranging from Dorothea Mackellar to Seamus Heaney, and an extract from James Joyce’s Finnegans Wake. Making multiple readings of the same poem, Musgrave grabbed selected line transcriptions to construct each ‘misheard’ poem.

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With a title like Ghosts of Paradise, it is no surprise that Stephen Edgar’s latest poetry collection is haunted by loss, mutability, and mortality – the great traditional themes of elegiac poetry. But Edgar’s poetry has long, if not always, been characteristically elegiac. In this new collection, Edgar’s first since winning the Prime Minister’s Award for poetry in 2021 (and his first for Pitt Street Poetry), the poems are haunted by the poet’s late parents, late fellow poets (especially W.B. Yeats, but also the Australian poet Robert Adamson, for whom there is an elegy), and ancient poetic forms, such as the sonnet. The collection also includes meditations on ageing, corpses, and photographs (including Roland Barthes’ ‘theory / That every photo is a memento mori’). An interest in the intertwining of memory, embodiment, and visual representation is powerfully realised in ‘Still Life’, in which the memory of a trip to Broken Hill is

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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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Real estate: that’s all Postumia can think about,
always bragging about her ‘portfolio’,
dragging it round like a bad painter.
At last count she owns eight flats
in suburbs she’s never visited,

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Homer and His Iliad by Robin Lane Fox & The Iliad by Homer, translated by Emily Wilson

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March 2024, no. 462

Fans of the Iliad have been well served recently. Late last year saw the arrival of a new translation by Emily Wilson, whose earlier translation of the Odyssey (2018) was greeted with near universal acclaim, and it was joined by a new book about Homer and the composition of the Iliad by one of the leading scholars of Greek history, Robin Lane Fox. Both works encourage us to rethink our connections to this epic poem and its value for contemporary life. Set against a backdrop of clashing Greek and Trojan forces, what does this poem about the fatal sequence of events that emerges from a disagreement between two feuding warlords have to teach us?

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See,
how this slow tide
tugs
and sighs against
the flank of patient night –
the driving pulse that
aches towards the
fleck
of dawn then
shifts,
and curls around skin’s soft
warmth, that quiet space –

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So much shown in a little space
All humbleness, all dignity,
Hand-work – the Knitted Nativity!
Seeing, one whistles on an arc of breath
Wonderful, oh wonderful!

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Andrew Sant is a substantial yet somewhat elusive figure in contemporary Australian poetry. Born in London, he arrived in Melbourne with his parents at age twelve in 1962. Over the years, he has published at least eleven collections, co-founded the literary magazine Island, and been, for a time, a member of the Literature Board of the Australia Council. More recently, Sant has lived and worked in the United Kingdom, but he clearly retains links with Australia, particularly Tasmania, where he first became known as a poet. 

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Too often poetry is valued as if it were prose, exclusively by virtue of its subject matter. Such discussions miss the poetry itself, which my wife calls ‘the speech that brings us to silence’, a kind of accuracy beggaring what we say about it. Simon West is a poet who understands this distinction. His essays collected in Dear Muses? (2019) explore ‘the uneasy way my allegiances lie with my language as much as they do with the places in which I dwell’. He knows how complicated such terms as language and place must be, so his landscapes – particularly riverine Victoria and Italy – never seem limitations. ‘The task of the poet is to scrutinize the actual world.’ I read him for the pleasures of both world and word.

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