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Image courtesy of publisher's website.
y separately published work icon Girls and Buoyant selected work   poetry  
Issue Details: First known date: 2017... 2017 Girls and Buoyant
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Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Sydney, New South Wales,: Subbed In , 2017 .
      image of person or book cover 1237243739350764895.jpg
      Image courtesy of publisher's website.
      Extent: 1v.p.
      Description: Chapbook
      Note/s:
      • Published 23 September 2017.

    • Sydney, New South Wales,: Subbed In , 2019 .
      image of person or book cover 8857830401532562671.jpg
      This image has been sourced from Booktopia
      Extent: 64p.
      Note/s:
      • Published: 20th July 2019
      ISBN: 9780648147527

Works about this Work

David Dick Reviews Emily Crocker, Allison Gallagher and Aisyah Shah Idil David Dick , 2018 single work essay
— Appears in: Cordite Poetry Review , 1 February no. 84 2018;

'I am always struck by the immense variability of human experience; the little and big differences that amount to the conditions of our individual and collective identities. The task of poetry is to write this nebulous, subjective humanity, while also probing the inefficiencies of the language we have to create and understand something so frustratingly out of grasp. How to apply an ostensibly tangible tool to an intangible quality? For instance, if we write emotion, or an emotion, as a word, it becomes incased in the materiality of language, becomes material itself, and is removed from the intangibilities of its initial feeling. Feeling is of course still there, but its nuance is limited to the shape and familiarity of the word, to the different ways we know the word in our different real world encounters.' (Introduction)

David Dick Reviews Emily Crocker, Allison Gallagher and Aisyah Shah Idil David Dick , 2018 single work essay
— Appears in: Cordite Poetry Review , 1 February no. 84 2018;

'I am always struck by the immense variability of human experience; the little and big differences that amount to the conditions of our individual and collective identities. The task of poetry is to write this nebulous, subjective humanity, while also probing the inefficiencies of the language we have to create and understand something so frustratingly out of grasp. How to apply an ostensibly tangible tool to an intangible quality? For instance, if we write emotion, or an emotion, as a word, it becomes incased in the materiality of language, becomes material itself, and is removed from the intangibilities of its initial feeling. Feeling is of course still there, but its nuance is limited to the shape and familiarity of the word, to the different ways we know the word in our different real world encounters.' (Introduction)

Last amended 22 Feb 2022 10:58:42
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