David McCooey reviews 'Empirical' by Lisa Gorton

David McCooey
Wednesday, 25 September 2019

In her latest collection of poems, Empirical, Lisa Gorton demonstrates – definitively and elegantly – how large, apparently simple creative decisions (employing catalogues or lists; quoting from the archive; engaging in ekphrasis or description) can produce compelling and complex poetic forms.

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Critics often comment on the ‘shape’ a poem makes – not the concrete form of the words on the page, but the poem’s conceptual trajectory, the statement, development and resolution (or lack thereof) of its central theme. What is most striking about Robert Adamson’s first collection of poems published in North America, The Goldfinches of Baghdad, however, is the shape the collection makes as a whole ...

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Martin Duwell reviews 'Afterimages' by Robert Gray

Martin Duwell
Thursday, 19 September 2019
Robert Gray’s new book continues the style of his previous one, Lineations, by interspersing poems with drawings: there are three panels of six drawings each, spaced throughout the book. It also contains a long meditation on things and thinginess, reality, consciousness (and all stops between) called ‘The Drift of Things’ ... ... (read more)

In his infamous 1955 review of Patrick White’s The Tree of Man, A.D. Hope’s dismissal of the book as ‘illiterate verbal sludge’ focuses on a perceived confusion between the categories of poetry and prose. White ‘tries to write a novel as if he were writing poetry, and lyric poetry at that’, writes Hope ...

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Peter Porter reviews 'Typewriter Music' by David Malouf

Peter Porter
Thursday, 22 August 2019
A review is more like a conversation than an overview from an Academy, and conversations often start with a salient point leading on to judgement. I suggest readers of David Malouf’s new collection should turn straight to page twenty-five and encounter a spray of short poems, titled ‘Seven Last Words of the Emperor Hadrian’ ... ... (read more)

Perhaps only John Shaw Neilson and Judith Wright have brought an equal sense of place to Australian poetry: the sense of place as a fact of consciousness with geographic truth. But in his latest collection, Biplane Houses, Les Murray considers more airy habitations – flights, cliff roads and weather – and the collection has a matching airiness that is only sometimes lightness ...

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One of the benefits of a Collected is that it places individual poems within the context of the poet’s whole oeuvre, with often dramatic consequences for their interpretation. When Leonie Kramer brought out David Campbell’s Collected Poems in 1989, more than half of the volume was made up of poems written in the last decade of the poet’s life ...

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The cover illustration of Peter Porter’s selection of essays shows a mosaic from the Basilica di S. Marco, Venezia, in which Noah leans out from the wall of the Ark and releases the questing dove. The last words of the selection go ...

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Peter Goldsworthy, doctor and poet, is a writer of significant style and concision. This new selection of his lyric poetry lives up to its jaunty, graffitied, lavender cover; it bespeaks lightness. And lightness is damned hard work. You don’t get there just by smiling and going to book launches ...

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From a small island, messages in a bottle floating out to sea. That was Gwen Harwood’s image for the poems she sent out during her early years in Tasmania, long before she had due recognition. Her letters, by contrast, knew their destination; they were treasured for decades by her friends, and they now make up the remarkable collection A Steady Storm of Correspondence ... ... (read more)