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Lisa Gorton

Shakespeare’s great contemporary Ben Jonson dressed an actor in armour to open his play Poetaster. The Prologue explained:

If any muse why I salute the stage,
An armèd Prologue, know, ’tis a
dangerous age,
Wherein who writes had need present
his scenes
Forty-fold proof against the conjuring
means
Of base detractors and illiterate apes,
That fill up rooms in fair and formal
shapes.
... (read more)
Published in October 2014, no. 365

2019 Calibre Essay Prize Judges

Tuesday, 26 August 2014

John CoetzeeJ.M. Coetzee was born in South Africa and educated in South Africa and the United States. ...

Lisa Gorton reviews 'Earth Hour' by David Malouf

Lisa Gorton
Tuesday, 25 February 2014

David Malouf turns eighty this month, improbably. To mark his birthday, UQP has published a new poetry collection by Malouf. ABR Poetry Editor reviews Earth Hour in this issue.

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Published in March 2014, no. 359

The end of the year tends to bring a small and exquisitely formed avalanche of Australian poetry, including Best Poems from Black Inc., Best Poetry from the University of Queensland Press, and the Newcastle Poetry Prize anthology. Sadly UQP gave up the ghost with its annual after 2009 ...

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Published in February 2014, no. 358

Cassandra Atherton reviews 'Hotel Hyperion' by Lisa Gorton

Cassandra Atherton
Saturday, 27 April 2013

The camera ottica in the epigraph to Hotel Hyperion alludes to Lisa Gorton’s artful play with shifting perspectives in this luminescent collection of poetry. The reader is invited to put her eye to the lines of poetry as if to a Galilean telescope or ‘perspective tube’. By looking at the poems through the peephole as ...

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Published in May 2013, no. 351

In 1579, with the publication of The Shepheardes Calendar, Edmund Spenser (c.1552–99) burst onto the English literary scene. From the beginning, he was one of the oddest of great writers. The Calendar was a work of remarkable ambition. Spenser’s unlikely shepherds ‘piped’ poems to each other, using a pseudo-archaic dialect and a variety of elegant verse forms. The nature of Spenser’s talent was already apparent: his fascination with time and pattern, his extraordinary facility with words and verse forms, his combination of melancholy nostalgia and bold ambition. For, if the Calendar was characterised by a tone of complaint, it also showed a new and deliberate concern with fame. 

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Published in November 2012, no. 346

The world of William Kentridge

Lisa Gorton
Monday, 23 April 2012

In 1981, William Kentridge journeyed from apartheid South Africa to the École Jacques Lecoq in Paris, renowned for its work in improvisation and physical theatre – theatre that creates itself in play. Though Kentridge would become an artist – working in drawing, printing, animation, film, opera, and sculpture – physical theatre and improvisation come closest ...

Published in May 2012, no. 341

I

Rooms so familiar
they complete themselves in me –
this darkened hall where the glass cases,

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Published in April 2012, no. 340

Lisa Gorton reviews 'Ben Jonson: A Life' by Ian Donaldson

Lisa Gorton
Monday, 23 January 2012

Ambitious, arrogant, talented, brave, learned, truculent, and convivial: Ben Jonson was too outstanding, too odd, and too contrary to be taken as a creature of his time. Yet he had so wide-ranging a life that to write his biography is to capture, in little, a great part of his remarkable age.

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Published in February 2012, no. 338

In 1629, Charles I of England sent Daniel Nys to Europe to buy art. Along with works by Titian and Rubens, Nys bought Mantegna’s masterpiece, The Triumphs of Caesar (1486–92). This work on nine large panels is at once sombre and full of wonders. Of its time the most accurate representation of Roman customs and costumes, it is also a work in which precision has a strange effect, almost of tenderness. Still hung at Hampton Court, it was one of only a few works that Cromwell kept after the regicide.

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