Rose Lucas
‘When I was three days old, a nurse … stole me from the obstetrics ward … and raised me as her own,’ the voice of Nella Gilbert Pine tells us in the compelling opening of Joyce Kornblatt’s fifth novel, Mother Tongue. This is a moving contemplation on core elements of human experience: the complex connections between mothers and daughters, what it means to love and be loved. It is also an exploration of the ripple effects of trauma, those shocking events that ‘explode’ in the unsuspecting hand, leaving trails of harm far into the future.
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A short story collection can have much in common with a collection of poetry, where each story pivots on attention to something particular and arresting – an image, a memory, the encounters with strangeness or beauty that can occur in a life. Individual stories build delicately towards such a moment, then fall away quickly, willing a reader to engage with feeling and suggestion rather than the comprehensiveness of narrative.
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Gilian Best’s début novel, The Last Wave, is a thoughtful narrative that charts the intricacies of one family’s experiences and relationships across three generations, from the postwar period to the present. It makes use of the iconography of the coast and the unpredictability of the sea almost as a dramatis personae ...
... (read more)Rose Lucas reviews 'Snake Like Charms' by Amanda Joy and 'The Herring Lass' by Michelle Cahill
Michelle Cahill and Amanda Joy have produced two engaging and proficient collections of poetry. In their different ways, each revels in worlds of perception, imagination, and poetic craft.
Amanda Joy’s first full-length collection, Snake Like Charms comes out of UWAP’s new poetry series and marks the emergence of an important voice in Australian ...
When snow falls, it blurs the line of sight. Sometimes it covers the world with a soft blanket, dampening everything else; sometimes it chills to the marrow ...
... (read more)Rose Lucas reviews 'Ground' by Martin Langford, 'Eating my Grandmother' by Krissy Kneen, and 'Now You Shall Know' by Jennifer Compton
In their very different ways, these three collections attest that contemporary Australian poetry is alive, robust, and engaging.
Puncher and Wattmann have delivered a generous collection of Martin Langford's most recent poems, Ground ($25 pb, 158 pp, 9781922186751). As we have come to expect from Langford, the voice we find here is strong – passio ...
The Lost Swimmer is a novel full of movement, colour, and complex plot threads. Although this is her first novel, Ann Turner’s experience as a significant Australian film director and screenwriter has given her a tight grasp on the unfolding of narrative in sharply realise ...
Rod Jones’s new novel, The Mothers, works on a number of levels. It provides a social and familial history of life in Melbourne’s working-class suburbs throughout the twentieth century while also telling the often moving stories of individuals connected across generations, usually mothers and children, battling to survive in adverse circumstances.
Reading the poetry of Ania Walwicz is a little like being drawn into a trance: the density of the prose-like lines; the disorientation of the lack of punctuation; the repetition of certain words, phrases, alliterations. It is not a poetry that can be read in short bursts. Each poem is a commitment to a vision, to a mind-space explicitly shaped by the intensity and demand of Walwicz’s language. Having burst into Australian poetry with her ‘Polish accented’ voice more than thirty years ago, troubling the dominant Anglocentric view of Australian culture, Walwicz’s poetic still works to startle a reader from her comfort zone and to disrupt her expectations about what poetry is and can be.
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Kin, Anne Elvey’s first full collection of poetry, brings together a wide range of poems full of light and the acuity of close attention. These poems focus on a world of inter-relationships where tree and water, creature and human, air and breathing, coexist – suggestive of an underlying philo-sophy of humility and acceptance. This is a world which envisions at least the potential of balance and a non-hierarchical sharing, where self and other, the natural world, and the devices and desires of the human might recognise each other.
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