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Ken Bolton

Hear the way these poets use moonlight. According to a delicious detail in Jill Jones’s thirteenth full-length collection, Wild Curious Air (Recent Work Press, $19.95, 76 pp), ‘The moon’s light takes just over a second to reach our faces.’ In the context of meaning, note the length of the sound in the word ‘faces’. Jones affectingly contrasts this second with the light that left a star, centuries ago: ‘Always a past touches us, as this hot January forgets us.’

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In this episode of Australian Book Review's States of Poetry podcast, Ken Bolton reads 'Gilbert Place - Cafe Boulevard' which features in the 2016 South Australian anthology.

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In this episode of Australian Book Review's States of Poetry podcast, Ken Bolton reads 'Salute' which features in the 2016 South Australian anthology.

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for Lee Harwood

 

Softly solarised and parallel
two lines echo each other, glow slightly,
in a space that is nowhere

                               #

        ...

Should the unique serve to typify?
Have they been ill-used? To what purpose?

 

Asian Couple

                    The Asian couple.
I am inclined to think Chinese –
mostly on the basis of size,
but not Japanese (the ...

I wonder what happens
in Seb's kitchen, I see
him round the corner
into the room, sun shining, cat
ready for food, a grin
that is mixed of resignation
& amusement eyes alight
for the opportunity
each day brings. I always
liked the way he understood
things – things I've
never understood –
as an open secret, knowledge
with w ...

States of Poetry 2016 - South Australia | About Ken Bolton

Australian Book Review
Monday, 22 February 2016

Thoughtful –and yet forgetful, easily distracted, hardly there sometimes Ken Bolton's is a lyrical figure limned against the harsh outlines, the stark colours, of the Adelaide art world

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'30.11.12', a new poem by Ken Bolton

Ken Bolton
Monday, 27 May 2013

What am I going to write here?
Something, I hope. A year
or so since I last launched out

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Published in June 2013, no. 352

Ken Bolton has published twenty books of poetry in the past thirty-five years, including a verse novel, The Circus (2010), and an earlier Selected Poems (1992), as well as seven often hilarious poetic collaborations with John Jenkins. An art critic, Bolton edited the seminal magazines Magic Sam and Otis Rush; and he has been a publisher with Sea Cruise and Little Esther Books. Bolton’s poems amusingly undermine any sense of affected certainty or closure – ‘with none of the confidence / of Samuel Johnson, // with none of the élan of Frank O’Hara, / with only a guilty and apprehensive grin // because in part / I belong to the school that says // if you see a leg pull it // I begin this tour of my attitudes ...’ (‘Lecture: Untimely Meditations (Tentative Title)’). Rather, his work is buoyed by indeterminacy, in which a blithe surface both collapses and embodies intellectual enquiry, most apparent in his spacious, extended poems, but also in more descriptive ones, such as ‘Kirkman Guide to the Bars of Europe’, from Sly Mongoose (2011), and one not included here, ‘Happy Accidents’, which unravels his influences. ‘Perhaps my oeuvre in / large part represents / a slur on the poetry of my betters – / whose example / allows me to go wandering off, / by the reeds, ankle deep / in mud, / mumbling inconsequently – / somehow ‘licensed’ by them, / by their example – / though heedless of it?’ (‘Poem (Up Late)’).

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Published in October 2012, no. 345

Michael Farrell reviews 'The Circus' by Ken Bolton

Michael Farrell
Saturday, 01 May 2010

Mid-career reinvention is an exciting thing. Ken Bolton’s poem ‘Outdoor Pig-Keeping, 1954 & My Other Books on Farming Pigs’, in Black Inc.’s The Best Australian Poems 2009, was the most surprising poem in the book. Where were the friends, artists and cafés? Where were the small ironies? A larger irony was at work. Bolton’s new book, The Circus, is something else again: a wry, sly and affectionate long poem nothing like Frank O’Hara – generally seen as Bolton’s guiding influence – and not much like Bolton’s Australian peers either. While much of Bolton’s poetry relies on a bemused first-person narration, relentlessly questioning what a poem or even a thought can do, The Circus is narrated in a shifting third person. It makes quite a difference.

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Published in May 2010, no. 321
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