Cirrus@Austlit

'“ ‘Fallen Myrtle Trunk’ will form part of my next collection, which will be a kind of bestiary or garden composed of poems about a variety of animals, insects, plants and other things.”- Stuart Cooke'

'I have been thinking a lot about poets working together on projects recently. I suspect that this has grown from reading translations and feeling, at times, slightly frustrated by the idea that there is an extra layer between my reading and the original poem. I noticed this particularly a few months back when reading the translations by Stephen Kessler of the Spanish poet Luis Cernuda. The translations were presented next to the original Spanish and, while I couldn’t read the poems in the Spanish, it was clear that Kessler had taken some major liberties with the structure of the poems, moving words from line to line and even from stanza to stanza. Armed with a Spanish English dictionary and a good online translator I began to create literal translations from the Spanish which I then reworked myself into versions I preferred. This, I realised, was a great example of how a good translator must do more than simply translate between languages – give the same poem to three different translators and chances are you will come up with three different poems.' (Introduction)

'We choose to read books for all sorts of reasons, the covers, a good review, a recommendation from a friend, lecturer or taxi driver. In this case I came to Louise Nicholas latest collection because of its title – The List of Last Remaining. It’s a suggestive title, with an internal rhythm that suggests great things. I had never read Nicholas’ work before but I was immediately drawn in.' (Introduction)

'H. Crone’s Our Lady of the Fence Post, a book-length poetic dissertation of sorts, begins as an imaginative interleaving of two narratives: the effects on the seaside community of Sunshine Bay (a cipher for Coogee) of the Bali bombings and the sighting of a Marian apparition there. The community is particularised through “bystander” characters including, Mari, Maria de Jesus, Joe, and Mae who have their own stories and afford the work a vital personal dimension. The loci and vessels of connection are place, religion (Islam, Catholicism and, more distantly, Hinduism), and the secondary impacts that “great” events wreak on “collateral” and individual lives. Crone goes so far as to hint at causality, as well as connection, by having an expert suggest that the sightings are a manifestation of the spiritual unease the bombings and their antecedents have engendered.' (Introduction)

'It’s a great honour to launch Michelle Cahill’s new poetry collection, The Herring Lass. Firstly, I’d like to thank Michelle for this honour. Secondly, launching this collection gives me the opportunity to speak of Michelle’s superb craftsmanship. With the publication of this collection, Michelle affirms her position as a consummate poet of extraordinary range and skill. She’s not only an acclaimed poet. She’s also an acclaimed fiction writer, essayist, and editor of the online Mascara Literary Review. (Introduction)

'Making my way through these poems – and I say “making my way” because there is never a feeling, at any point, of having to work the poems out. It is much like walking through a gallery of striking paintings – each beautiful, savage, tender and stark. These word paintings and snapshots resonate long after you have put the book down.' (Introduction)

‘This is the book for you’ is the title of a satirical, distilled review, which begins ‘joan collins is an extraordinary orchid of evil & beauty’; it also happens to be true of redactor – whatever “true” means these days. This is the book for you, because of its acute timeliness. With wit and sagacity, Eddie Paterson’s latest collection of poems seems to herald and ward against several recent dystopian events. ' (Introduction)

'It was near enough to a decade ago that one Susan Fealy materialized on the Melbourne literary scene as if out of nowhere – or so it seems in retrospect, and so it appeared to me at the time. She had written a searching response to my then recently published novella, The Poet, and this led to an exchange of emails and our first meeting. We began to cross paths at poetry readings, and I soon discovered that Susan loved to write long but interesting emails packed with her musings and reflections on matters literary, artistic, or otherwise noteworthy. As time went on, these emails, and our conversations whenever we met up, gradually revealed to me a person who thought hard about language, art, ideas, the natural world; a serious, passionate reader who probed deeply into whatever text was before her or whatever notion was exercising her mind.' (Introduction)

'While the ‘convict stain’ has become a tired cliché in Australian history writing, it is a more interesting facet of Australian fiction. The fact that many of the early British colonists were criminals transported here against their will complicates the common colonial narratives and generalisations, as Kate Grenville showed in her immensely popular The Secret River (2005). Through Australian historical fiction, readers have become introduced the ‘good convict’ drawn into terrible acts of violence partly, because of the injustices of penal transportation.' (Introduction)