In the year leading up to his death, the poet Robert Adamson (1943-2022) gathered together a selection of his work that focused on one of his enduring passions: the birds and fish of the Hawkesbury River, beside which Adamson lived much of his life. Adamson was best known for exploring this passion in poetry, but the pieces collected in this new book are works of prose and include selections from Adamson’s autobiography Inside Out (2004), and from his late collection, Net Needle (2015). They also include material that is likely to be less familiar to readers, pieces published in the magazine Fishing World, and extracts from a journal Adamson kept between 2015 and 2018 titled ‘The Spinoza Journal’.

Perhaps the most remarkable thing about Robert Adamson is the fact that he is still alive. One of the ‘Generation of  ’68’ and an instrumental figure in the New Australian Poetry (as announced by John Tranter’s 1979 anthology), Adamson has continued to write and adapt while also bearing witness to the premature deaths of many of that visionary company. As Adamson’s friend and fellow poet Michael Dransfield (1948–73) once put it, ‘to be a poet in Australia / is the ultimate commitment’ and ‘the ultimate commitment / is survival’. The poems in this volume attest to the grace and burden of being one of Australian poetry’s great survivors – of the countercultural mythology of the ‘drug-poet’, alcoholism, and the brutalities of the prison system (recounted firsthand in his 2004 memoir, Inside Out). ‘The show’s to escape / death’, Adamson observes of the Jesus bird (sometimes called a lilytrotter), a lithe performer and canny survivalist that affords this most ornithologically minded of authors a telling self-image.

Anyone who hasn’t caught up with the thriving diversity of recent Australian poetry should get hold of this second annual anthology from Black Inc. edited by Robert Adamson. It’s a richly impressive selection from all corners of the Australian poetic field and across the generations, from Bruce Dawe and Frank Kellaway to younger poets yet to publish a first book. For more specialist readers, with a comparative eye on contemporary poetry in English, Adamson’s soundings demonstrate amply how mature and vital Australian poetry is.

Reviewing Martin Langford’s Harbour City Poems in the November 2009 issue of ABR, I remarked on the absence from the anthology of new young voices. This is a criticism that cannot be made of Robert Adamson’s selection for this year’s Black Inc. Best Australian Poems. Adamson, distinguished poet and Hawkesbury fisherman, has cast a very wide net, departing from the practice among recent editors of this fine series by including unpublished poems; some of these are from established poets, but several are from new and usually young writers whose work bears witness, in the editor’s words, to ‘the power of the incoming tide’. Thankfully, the days have gone when blokes who wrote poems selected their mates’ work when they came to edit anthologies. Adamson didn’t set out to redress any perceived gender imbalances, but more than half of his selection consists of work written by women; this has been ‘the year of the women poets’, as he says.