Poetry

Another poet might invoke Edmund Burke’s famous treatise on the Sublime and the Beautiful as a piece of phraseology or a pleasing adornment, but with John Kinsella, such a title is dead serious. Elliot Perlman’s superb novel Seven Types of Ambiguity (2003) ingeniously makes the reader think of William Empson’s, and the idea of plural signification it evokes, but not instantly to reread it. Kinsella’s use of Burke’s title prompts one to reread the original – ideally, in a Kinsellan métier, on the internet, late at night. Additionally, the ‘shades’ in Kinsella’s title is an important supplement – shades as variations, colourings, but also shadows, undertones.

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The recent death of Les Murray can be likened in its significance to the passing of Victor Hugo, after which, as Stéphane Mallarmé famously wrote, poetry ‘could fly off, freely scattering its numberless and irreducible elements’. Murray’s subsumption of the Australian nationalist tradition in poetry, including The Bulletin schools of both the 1890s (A.G. Stephens) and 1940s (Douglas Stewart), has delineated an influential pathway in our literature for more than fifty years. Yet the death in 2017 of the American poet John Ashbery might be viewed as equivalent in its effect, given the impact of his work on several generations of local poets, which has in many respects constituted a counter-stream to Murray’s often narrowly defined nationalism. Ashbery’s voice has been infectiously dominant in English-language poetries over several decades, in a manner similar to T.S. Eliot’s impression on poets of the earlier twentieth century. Critic Susan Schultz, the publisher of this volume, has charted the dynamics of its transcultural influence in her aptly titled collection, The Tribe of John (1995)

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Jennifer Strauss reviews 'Blister Pack' by David McCooey

Jennifer Strauss
Friday, 11 October 2019

If I hesitate to declare delight in Blister Pack, David McCooey’s first volume of poetry, it may be because McCooey himself casts a shadow over the word in ‘Succadaneum’, a sequence of sardonically sad glimpses of the failed love that constitutes the theme of Part II of this collection – ‘Delight, it turns out, / is a lawyer / staying back at work / kicking off her shoes / and opening a bottle of red’, abandoning clients’ disasters to files ‘locked / in metal cabinets’.

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The Sydney poet Bruce Beaver died in February 2004 after a long struggle with kidney failure that kept him on dialysis for more than a decade. He was seventy-six years old. Beaver was seen as a sympathetic older figure by many poets of my generation, born a dozen years later. I met him when I was in my twenties, and found him to be a generous friend. When the poet Michael Dransfield, younger still, called on him in the early 1970s, it was a natural meeting of minds. In one poem in The Long Game and Other Poems, Beaver says that ‘poor Dransfield draped / me with a necklet of dandelions / once and kissed my forehead / in what must have been / a satirical salute’. I have a feeling that the salute was heartfelt, but Bruce was painfully modest.

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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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