Poetry

Browsing through some of the late 1995 offerings from small poetry presses was a case of moving between the dark and light in both themes and styles.

Decidedly on the dark side were two chapbooks from Shoestring Press in Nottingham, giving English publication to the work of two oddly matched Australian poets, Dimitris Tsaloumas and Tim Thorne.

Tsaloumas’ poetry is characterised by gravitas and a grand universality of theme and has sometimes seemed exotic or anachronistic in the less formal, more colloquial context of Australian poetry. Interesting that his English publisher felt it necessary to provide a brief Foreword to Six Improvisations on the River, offering a cautionary note:

[Tsalomas’] mode of writing may fret British readers conditioned to expect a less composed, a rawer poetry, one attempting to recreate the force of immediate experience.

These six poetry titles represent the third series of New Poets to be published by Five Islands Press. Each title runs to exactly thirty two pages – no more, no less. It is, in a sense, a mini-collection, or a semi-collection, midway between a reading and a book. The series as a whole is therefore like a showcase of new talent – you applaud some of the poems, and get impatient with others, much as you do with the poets themselves. This is a good thing – it presents poetry as the provisional affair it really is, most of the time, for poet and reader alike.

When I started publishing my poems back in the early 1970s, I did so amidst a concern that Australian poetry was being Americanised: Coca-Cola, the pizza parlour, and the rock and rollers’ preoccupation with that thing called ‘lurve’ had swept all that was pure and true into the trashcan of history, and we with our Olsons, O’Haras, and Berrigans were unwitting accomplices to this annulling of our own birthright. My defence at the time would have been, ‘well, we’re taking aboard all that’s repulsive in American culture: their military and economic theses, their particular variety of consumerism, and no-one is protesting much about this – so why do they get so upset when we pick up on something of value from that culture?’ American artists themselves had absorbed things from other cultures without anyone there worrying about it. A great deal of the motivation behind the ‘New York School’ came from the French surrealists, though in translation surrealism had its more harebrained ideological aspects removed painlessly. In fact this ‘translation’ was a model of cultural appropriation, showing what a sea-change (and a change of tongue) can do to some seemingly immutable items.

A few years ago I found myself grouped with some other poets and given a label: ‘Generation of ‘68’. Like most tags it became after a while more a source of irritation than anything else. The description had been given by John Tranter to the inmates of his 1979 anthology, The New Australian Poetry, but before long had become a term of collective abuse as such labels tend to. One of the identified failings of this group of writers was their propensity for ‘game-playing’. So when Geoffrey Lehmann and Robert Gray included poems by one of the ‘sixty-eighters’ in their anthology, The Younger Australian Poets, they prefaced Tranter’s pieces saying they had chosen things which, unlike most of his work, were not purely ‘language-game’ poems.