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is a must have collection. Published by Puncher and Wattmann and edited by Martin Langford, Judith Beveridge, Judy Johnson and David Musgrave, this 658-page book anthologises Australian poetry for the last 25 years.
Taking 10 years to compile over 200 poets and 500 poems, it really is a landmark publication, a credit to the Australian poetry scene, and includes some incredible poets – Ken Bolton, Jennifer Compton, Peter Goldsworthy, Jill Jones, John Kinsella, Mike Ladd, David Malouf, David Mortimer, Les Murray, Jan Owen, Dorothy Porter, Mark Tredinnick, Fiona Wright, not to mention the editors themselves.
It’s being launched in Adelaide at the SA Writers Centre next Friday, which unfortunately I can’t make (off exploring Noosa), so I promptly ordered a copy. Flicking through for the first time, because this will need endless reads, two poems caught my eye – ‘Grief’ by Elizabeth Allen and ‘Snowflake’ by Anthony Lawrence.
Elizabeth is a Sydney-based poet and her chapbook Forgetful Hands is on my wish list. Hers is a powerfully poignant piece about her sister, who having lost her ‘Botticelli curls’
‘…has been looking into people like mirrors
but does not know how to make a face
that resembles the pain inside her.’
Anthony I saw at Mildura’s Writers’ Festival the year Sharon Olds headlined, who I was lucky enough to meet. His poem centres around his mother who cultivates a snowflake in the freezer ‘between the peas and the ice cream’, setting sapphires into her teeth:
‘At dinner I would pretend
to be a good son, and her smile
enameled the table
with points of dark blue light.’
This is a remarkable anthology, to be read, smiled, laughed, cried and absorbed between breaths, bit by brilliant bit.
I was one of five guest poets invited to read at Payneham Library yesterday as part of the Friendly Street Poet readings and it was a fab line-up – with Thom Sullivan headlining backed up by Cary Hamyln, David Mortimer, me and Russ Talbot, all introduced by the charming Louise Nicholas.
Now I warn you this is not an in-depth detailed analysis like my usual posts. Mainly because I find it difficult to focus when I know I’ll be up there shortly! But also because I’m going to the launch of both Cary’s and Russ’s chapbooks later this week, so you know, didn’t want to duplicate too much (and then there’s the nervous concentration thing…)
Anyhow, Thom kicked off still basking in the glow of his reading at the Adelaide Writer’s Week a few weeks ago. Thom reads well, there’s a certain quiet strength about him with which he captures his audience and what particularly stood out for me was Thom’s acknowledgement that we poets stand on the shoulders of greats, a responsibility we all share, a profound statement. Thom shared poems he wrote during last year’s National Poetry Month, including ‘Crow poem’ and ‘Living in a draught, which can be found here on his blog.
Next up was Cary who, although not new to the poetry scene, confessed she has not given many readings (like me!). Cary read from her new chapbook Scraping the night, part of the Picaro Poets series published by Ginninderra Press and began with the title poem, followed by ‘Moment of departure’, ‘Time is a hound’ and ‘Future prince’ to name a few, with the titles alone enough to pull you in. Cary’s poems left me with some very vivid images but as said, more to follow about this shortly.
David went up next, reading a selection of poems from his collections, including ‘No wonder’ and ‘Towards evening’ from Magic Logic published by Puncher & Wattmann. David, like Thom, is one of many amazing local poets here in Adelaide and is also adept in his delivery, finishing with a very clever poem about Keats and Wordsworth, who are considered to be part of the thousands of greats Tom referred to earlier.
And then it was me. Louise did a wonderful introduction, mentioning my blog so I thought yes, better post about this event then(!). I opened with a new poem based on our Oodnadatta travels last October, a kind of sestina and probably the longest poem I’ve written to date. I then shared ‘Hoodlums’ recently published in InDaily, followed by three from my collection Smashed glass at midnight and ended with a poem I plan to include in my next collection I’m just finalising (yay!). Think I did ok.
Russ finished the guest poet line-up sharing work read by Jennifer Liston due to his acquired brain injury as a result of a brain tumour. I’ve never read any of Russ’s work before, it was breathtaking, as poems were read from his new collection Things that make your heart beat, also part of the Picaro Poets series from Ginninderra Press. And like Cary to be officially launched later this week, so I’m going to leave you hanging for the detail.
After a short coffee break it was open mic time, where we heard the likes of Ian Gibbins, Martin Christmas (who was also happily snapping away), Judy Dally, Louise Nicholas (the MC) and Mike Hopkins, all of whom were highly entertaining. And there were a few first time readers as well whom the room applauded, something that happened to me at my first ever reading here, which is incredibly endearing and encouraging.
So that’s it. I managed to sell, correction, the dazzling Jules Leigh Koch (who invited me to be a guest poet) managed to sell five of my chapbooks (which made my husband happy when I got home!) and I also had a lady approach me in the break to tell me how beautiful my poems were and how much she could relate to them, which I found very touching. All in all it was a wonderful way to spend a Sunday afternoon, set me up for the week it did.
I was invited to an exclusive gathering at Heather Taylor Johnson’s house last night to listen to the poetry of Andy Jackson, here from Victoria to complete his PhD at Adelaide University. I hadn’t read any of Andy’s work before the invite and once I did, was looking forward to hearing more.
Andy has performed widely, received awards for his work and been extensively published; his first full length collection, Among the regulars, was shortlisted for the NSW Premier’s Prize for Poetry in 2010 and in 2013, his collection, the thin bridge, won the Whitmore Press Manuscript Prize. Andy has Marfan Syndrome, a genetic disorder of connective tissue, and the impact of this on his life is explored in much of his work.
Heather introduced Andy, who started with a new poem, ‘What I have under my shirt’, which he told us had been rejected by a few journals and after hearing it I thought, more fool them. The poem offered several ways to explain his ‘body shaped like a question mark’ to use Andy’s words, comparing it to ‘a speed hump your eyes slow down over on approach’, followed by other explanations such as a ‘backpack’, ‘nothing’ or ‘infinite shirts’. It was a thought-provoking piece, really quite profound.
Next came a poem about parenthood called ‘Double helix’ in which Andy used line repetition; ‘what looks like a pattern is composed of chaos’, ‘I didn’t think of having children until I met you’ and ‘you can be so lonely you don’t want to be touched’. Powerful stuff.
Andy then shared what he described as a kind of love poem for his partner Rachael, a poignant description of them taking a bath, with the beautiful line of ‘I slipped, bumped my thinking on your actual body’ as he is almost dumbfounded by what’s happening.
‘The elephant’ was a poem about the proverbial one in the room, literally, where ‘there isn’t much room for us’ and so they are forced to ‘inch along the wall’, culminating in the wonderful last line of ‘He reverently lifts my arm, as if it were a tusk, lifeless’.
Andy closed his first set with a poem about the decomposition of a bike in Coburg called ‘The bike itself’, telling us how pieces were taken away over time so he finds ‘beauty in absence’, leaving ‘memories not even lavender-patterned wallpaper can hold onto’.
Unfortunately I didn’t stay for the second half (more fool me!), but it was a delight meeting Andy albeit fleetingly and to hear him read. It was a gorgeous event, filled with candles, soft lights and bright stars, both above and of the SA poetry scene, with Jill Jones, Rachael Mead, Alison Flett, Kathryn Hummel, David Mortimer, Mike Hopkins, Pam Maitland, Aidan Coleman and Amelia Walker, who were also invited to share a poem or two.
But lets return to Andy. His work is achingly beautiful, haunting, conjuring images you just want to put your arms around or slip into your pocket to take home to keep. If you’re not familiar with Andy’s poetry, I would strongly encourage you to get familiar; his collections have already been ordered.
The launch of the Spring 2015 series of Southern-Land Poets from Garron Publishing took place last night at the Halifax Café. These are exquisite chapbooks from some big names – Rob Walker, Jelena Dinic, Aidan Coleman, Rachael Mead and David Ades – each a beautifully presented snapshot of their work.
Gary McRae, founder of Garron Publishing, hosted the event and began by thanking Sharon Kernot, assistant at the independent press and a writer herself (and who also did a wonderful job of selling the chapbooks) for her meticulous work and commitment, and then Michael Bollen of Wakefield Press for his continued support of the series.
So first up was Rob Walker reading from Polices & Procedures.
Now working in HR, I can so relate to this title and was looking forward to Rob sharing some of its poems. He began with the title poem, a short piece about hindsight in his teaching career, followed by ‘A drive to work’ ‘on a day when every dewdrop traps a rainbow’, a gorgeous image. ‘Time of your life’ was next, which captured the heady days of youth and then a few poems relating to Rob’s period of bad health, ‘Resolution / D-generation’, ‘Radiology’, and ‘Coming off the tramadol’, with some haunting lines; ‘I am an imperfect copy of myself’, ‘internal astrology’ and ‘racing through a black espresso night’, taking us to where he has been and come back from
Next up was the lovely Jelena Dinic with her chapbook Buttons on my Dress.
Jelena began with ‘The Last Summer’, a wonderful poem about growing up with memories of ‘before’ ending with the stunning line ‘I learn to drink from the bottle and nothing tastes the same’. Her next poem ‘Crossing borders’ alluded to a time of discontent in former Yugoslavia from where she hails, by addressing a mother about her’ three sons the most wanted’ and how to keep them safe. Having studied art history as part of my degree I loved Jelena’s ‘Portrait of Olympia the Prostitute’ and once again could picture the ‘unattainable stretching herself like history resilient to the centuries’, an elegant comparison. I’ve never heard Jelena read before; she was captivating.
Aidan Coleman was up next just before the break reading from Cartoon Snow.
Like Rob, Aidan opened with the title poem, which gave us an almost magical frozen land ‘where a blue night is snowing to itself, shushing the owl-wide forest’. The next two I recognised from Aidan’s Lee Marvin reading – ‘Primary’ and ‘Barbarian Studies’ – in the first ‘the teacher chastens gently in lowercase green’ and in the second, ‘kids jostle, shove and swing like wrecking balls’. Aidan finished his set with ‘Ham Radio’, a poem about his father working ‘the difficult braille of a circuit board’…‘until a voice comes clean of static, to talk in a clear bubble’.
Then we had a break where I noted some faces in the crowd – Mike Ladd, Peter Goldsworthy, Louise Nicholas, Jill Jones, Jennifer Liston, Jules Leigh Koch, David Mortimer, Mike Hopkins, Martin Christmas – and a crowd it was, the place was packed.
Rachael, closely photographed by doting husband Andrew Noble, who has just finished building her a writer’s cottage (yes you read that right, I want one!), read from The Quiet Blue World.
Rachael shared a poem she hadn’t before called ‘White Blues’ about seeing Jack White at Federation Hall a few years ago. This longer piece was loaded with incredible imagery before the concert – ‘In Chinatown, customers with chopsticks lean over steaming bowls like fine-beaked birds dipping into sweet cups of magnolia’, a ‘man’s face is a crumpled tissue of experience’ – and then once inside, they are ‘driven to use (their) bodies as instruments as (they) open up’. Rachael’s last poem, ‘What the fire didn’t touch’, was about her parent’s house in a bush fire, beginning with ‘Mum, who was never late a day in her life, woke up early for her death and missed it’ to the stunning last line of finding her childhood books with ‘the years waiting like pressed flowers between the pages’.
David Ades, skyping in from Pittsburgh at 4:30 in the morning (now that’s dedication!), completed the line-up by reading from his chapbook Only the Questions are Eternal.
David also shared the title poem from his collection, which compared the relentlessness of questions to baby birds ‘chirruping in their nests, pointed beaks raised upwards, insistent’. His next poem, ‘The bridge I must walk across’ was very apt considering the ongoing refugee crisis, culminating in the provocative stanza ‘I am becoming a stranger inside my own skin, my children becoming the bridge I must walk across’. David’s final poem, ‘A father’s call’ stems from becoming a dad unexpectedly, and describes how over the years he searched for his yet-to-be-born children – ‘I flung my call at your absence’ – a very touching piece.
And so the new series had been well and truly launched in what will be a memorable evening, and with the chapbooks retailing at a mere $7 each, I felt it only right to complete my set (adding to Rachael’s and Rob’s), because they really are an amazing read.
Tuesday’s Lee Marvin had a line-up of Ian Gibbins, Aidan Coleman, Cath Kenneally and Anna Goldsworthy, introduced in full Lee Marvin style by Ken Bolton.
I’ve never heard Ian read before. A neuroscientist and poet, Ian captivated the audience with his performance (and it was just that, due to years of teaching he told me after). The first poem Ian read was from a collaboration with Judy Morris called Floribunda, in which his scientifically expressed poems are paired with her beautiful pictures of flowers. Ian pauses at just the right moments with the last line delivered dramatically – ‘always lost at sea, find anchorage’. With his second poem Ian selected random words from The Advertiser and ordered them alphabetically, producing a thought-provoking summary of the news. Ian then read a short story, ‘Last shave’, which opened with ‘The ants have returned’ and continued to draw us into a world of infiltration and conspiracy. Ian finished with ‘After thoughts’, a poem that was shortlisted for the Ron Pretty Prize with striking images of ‘fairies running on schedule’ and ‘favourite islands displaced.’ Ian really was a delight to listen to.
Aidan I’ve heard before and read a series of sonnet length poems beginning with ‘Crossing the bar’, followed by six poems about colour, which he felt slightly daunted about sharing with Peter Goldsworthy on the front row (who has, I’m told and have yet to read, written exquisite poems about colour). The series alternated between ‘Primary’ and ‘Secondary’, opening with a description of a red car compared to a ‘half-sucked Jaffa’, with the next primary installment likening yellow to ‘easy pour of olive oil’ and ‘a tiny Easter’. Interestingly the primary pieces struck me more than the secondary, hence no reference to the latter! Aidan then read a poem called ‘The end of weather’ with a delicious line of ‘summer stops short of nudity’, conjuring beach scenes and heat, and then finished with another two poems, only one of which I caught the title, ‘Jolt’ (trying to listen, appreciate and make notes takes some doing, all while balancing a glass of wine!).
Cath has a variety of guises – art critic and journalist, novelist and poet – and shared a couple of poems from her ongoing Australia – London compilation, the first being ‘Creatures of the forest’, with some beautiful lines like a woman of ‘all nerves and steely perm’ and ‘my legs fizzing with the urge to run’. Cath’s second poem cited parts of inner city London – Marylebone, Baker Street, Highgate, Brick Lane – making us ex-Londoners feel slightly nostalgic! Cath finished her set with a three part piece each told from a character’s viewpoint, beginning in the first person, the second from that person’s sister and the last from their mother. This is the first time I’ve heard Cath read and found her almost breathy style alluring.
Anna, I found out, is Peter’s daughter and read an excerpt from a book she originally shared at the Festival of Ideas a while ago, in which she describes the first holiday her and her partner take following the birth of their first child. The piece is beautifully written and conveys her hysterical (in terms of humour) obsession with their holiday home’s long drop toilet! Lines like ‘clumsiness ticks over into disaster’, ‘the baby must never go in there’ and the repetitive mantra of it would never be her to drop the baby into the composting toilet therefore it must be Nicholas to drop the baby into the composting toilet – fuel her irrational fear of the baby ending up in the composting toilet! Anna takes some extreme measures, barricading her partner into bed with suitcases so she would hear if he stirred and trying to stay awake to prevent her from accidentally sleepwalking the baby into the composting toilet! I do not do it justice, but it was highly entertaining and unfortunately not in stock in the Dark Horsey Bookshop, so I have it on order to enjoy its entirety.
And then I just wanted to end this blog with, you know, something about me. I was told I read very well by Peter Goldsworthy, learned that David Mortimer enjoyed my debut collection so much he has recommended it to his poetry group and sold a signed copy to Shannon Burns to get his thoughts! Enough now. Long post. Exhausted. But happy.
Now, I apologise in advance. This should be a review of the Lee Marvin readings on Tuesday. It is not. It’s mainly about me.
Keeping me company on the bill was Ken Bolton, host of the evening, Matt Hooton and Heather Taylor Johnson. Ken was up first to read two poems. I should say what they were about and had planned to make my usual notes but alas, found it difficult to concentrate (sorry Ken!). Next up was Matt who read a piece of prose after setting the scene of being invited to look at a patch of ancient dirt (that much I remember and it really doesn’t do Matt’s work any justice, useless I am!). And then there was me.
There were some big names in the crowd – my usual gang of Rachael Mead, Mike Hopkins, Alison Flett and Heather, and then Peter Goldsworthy, Shannon Burns, Mike Ladd and David Mortimer, one of whom told me beforehand they had come especially to hear me read so you know, no pressure. And just like my launch, initially a bit nervous in the lead up but once up there, calm. Strange. I read 7 poems, two of which I had read at the launch, managed to get a few laughs in the right places and left the audience with thoughtful faces. Result. All after finding out that two of my poems had been published in the new Friendly Street Poets Anthology launched earlier in the evening at another venue, which was a real surprise and something I knew nothing about, one of which had been shortlisted by Mike Ladd for the Satura Prize (the best poem in the anthology) and then also discovered I’ve been shortlisted in the mindshare poetry awards, the winners of which will read at the Festival of Now in October. So you could say my head was pretty spaced out, helped/hindered by the two glasses of wine I had had. But again, apparently, I did good. And again, really enjoyed it. This may become a habit. Why I’m writing in short sentences I don’t know. Maybe I’m still slightly stunned.
Now Heather’s set I remember (yay!) because I could relax. Heather read two pieces of prose with a focus on her mother so emotive stuff, followed by a poem in three parts about coping with Meniere’s disease, a condition Heather herself suffers with which she projected onto Graham, the protagonist in her brilliant debut novel Pursuing Love and Death published by Harper Collins. The poem was beautifully poignant brimming with sea imagery, with lines like ‘and with a body craving salt you are full of ocean’ to convey the debilitating giddiness associated with the disease. I have no doubt this will feature in The Fractured Self Anthology Heather is currently pulling together.
So you know, back to me. I managed to sell some more copies of my chapbook, with requests to sign from above famous poets(!) and left the Dark Horsey Bookshop stocked with a few aswell. Definitely another night to remember – what a blast!
Tuesday saw words with Caitlyn Lesiuk, David Mortimer, Mike Ladd and Carol Lefevre at the Lee Marvin readings hosted by Ken Bolton, a delightful variety and evening.
Caitlyn was first up reading a piece of prose, which although based in Melbourne felt like we were being drawn into some kind of Salvador Dali-esque world, with striking images of birthing body parts! An eye, foot, hand pushing their way out of women, such powerful images leading up to the protagonist being hit by a tram but the legs ‘kept on walking’. At the end, despite the almost surreal horror, you wanted more, so hopefully at some point there will be.
David read eight poems, six of which were new and then two from his collection Magic Logic published by Puncher & Wattmann Poetry, one entitled ‘not-being and somethingness’, a nice fit with the evening’s theme. David ended with ‘practical aesthetics’, a sex poem as he calls it, which opened with the beautiful line ‘I kiss your intimate architecture’ and developed into an exquisite abstract of lovemaking.
Mike read a new series of poems called ‘Dream tetras’, which in part relayed colours remembered after waking. These were interesting, thought-provoking pieces and Mike is a wonderful reader, having heard him before at a Words@Wall event reading from his Adelaide collection produced by Garron Publishing. Mike ended his set with a poem about skiing in Dubai, an entertaining piece with the repetitive line ‘so let’s go skiing in Dubai’ throughout.
Carol shared a series of work about her garden, a photographic journal called The Art of the Garden Diary published in SA Life, making reference at one point to Wallace Stevens’ poem ‘Thirteen ways of looking at a blackbird’, which I must admit I had never read before (I have now!). With memorable lines like ‘night swallows the deepest colours first’ and vivid images of roses, Carol encouraged us to remember the natural world we live in and must keep alive.
