Poetry

The last two lines of Tony Page's Dawn the Proof (Hybrid Publishers, $25 pb, 87 pp, 9781925272239) ask 'how to seize / the grains of now'. One of Page's (implicit) ...

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Do people hate poetry, as the title of Ben Lerner's terrific book-sized essay implies? In Lerner's account, poetry is associated with hatred and contempt, even by ...

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In one of the poems in Summer Requiem, the most recent of the books in this capacious volume, Seth recalls when he decided to write, 'What even today puzzles me ...

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Poetry is, usually, shorter, and, in many but not all cases, the lines turn. I've become less attached to prose, especially prose that pretends to 'the poetic'. I'd rather read a book that's prosaic, in the true sense, than a 'poetic' novel. Some prose is poetry, of course, but not because it's poetic. I won't even start on hybrid works.

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Reading these three books in April, it was impossible not to see in them flashes of what Ross McMullin has described in war artist Will Dyson's drawings from World War I ...

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We are in the back of the Bentley;
the church and the Riviera crowds
are behind us. The sunroof is open ...

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When the temperature drops, and the wind begins
to moan, through the coils of the air conditioner,
and I wonder how the wind chooses ...

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In this episode of the Australian Book Review's States of Poetry Podcast, state editor Peter Goldsworthy introduces the 2016 New South Wales poets: Aidan Coleman, Jelena Dinic, Jill Jones, Kate Llewellyn, Kat Bolton, and Thom Sullivan.

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Poetry can say anything that prose says, but it has to get there far more quickly and in much less space. I think this sense of spatial, psychological pressure is the main point of difference.

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Although William Carlos Williams, with some accuracy, claimed that 'every' poem is an 'experiment', the number of successful experiments is relatively rare. Jordie Albiston's new 'long poem' or 'verse novel' (call it what you will) is triumphantly experimental in both technique and content.

In technique, Albiston has done several things which, in other hands ...