'Over the past decade, Spoken Word has established itself as a central part of contemporary Australian & New Zealand poetry. For the first-time ever, these voices are transported from the stage to the page, captured in print so that the spoken-word experience can be shared with a new and broader audience.
'Solid Air showcases the work of more than 100 performance poets - combining elements of slam, hip-hop and experimental performance poetry - to deliver an unforgettable reading experience that is both literary and loud. Poems capture themes of modern culture, identity and resistance.
'Contributors include Ali Cobby Eckermann, Hera Lindsay Bird, Claire G. Taika Waititi, Courtney Barnett, Michelle Law, Hannah Gadsby, Luka Lesson and many, many more.'
Source: Publisher's blurb.
'Australia has a strong history of poetry, albeit largely white and male. Henry Lawson, Banjo Patterson, Adam Lindsay Gordon, CJ Dennis, AD Hope and Dorothea Mackellar are all notable figures in Australia’s colonial history and literature. Why is it, then, that poetry collections are largely ignored by our major literary prizes?' (Introduction)
'Anthologies tend to raise more interesting issues than individual books of poetry. It may be that they just raise different issues but that those they do raise are more obvious and pressing. They also have more structural issues than a book of poems by a single author. And then there is the question of what they assume their purpose is: to present the best, put some texts together for students, to establish a new literary-historical blueprint for the future of poetry, etc. Michael Farrell’s immensely enjoyable Ashbery Mode doesn’t try for any of these conventional aims. It is, essentially, a collection of poems celebrating the influence of John Ashbery in Australian poetry. I don’t think I have ever seen an anthology with such a rationale but that might just be an accident of my reading. At any rate, as a largely celebratory anthology – is it the poet’s equivalent of an academic Festschrift? – it makes no pretensions to creating new interpretations of the history of Australian poetry although, of course, it will select only poets seeing Ashbery as a valuable influence in their own work. And, as with a Festschrift, you have a sense of poets choosing which works to contribute. The book doesn’t anywhere say that this is the case but I’m sure, as a reader, that it is: in other words, the book’s structure isn’t entirely the work of a lone, godlike anthologist. One of its most charming features is its principle of organisation – always something of a bugbear for anthologists. It does this geographically, starting with Nicholas Powell and David Prater, Australian poets living in the reasonably remote Finland and Sweden, before working its way across the Atlantic to the West Coast of Australia, then up the East Coast, into East Asia and finally across the Pacific to the East Coast of the US.' (Publication summary)
'Is an anthology greater than the sum of its parts? Does it effectively capture its milieu? Who’s been included, who left out? Is it genuinely of the moment? Will it endure? The case of Solid Air is even more complex. This is a collection of spoken word that’s been published as a book, rather than as a downloadable album, a film to be streamed, or a live show on tour (though there have been a string of impressive launches). Voice turned to ink, accent and emphasis turned into font, the unfolding of a poem in time turned into a presence on paper which is there in its entirety at one glance. Is this the stage surrendering to the supposed dominance of the page? Should I consider these poems purely in their physical form here, or as reminders of their performance elsewhere? Of course, editors David Stavanger and Anne-Marie Te Whiu know you’ll ask these questions, and it’s proof of their adept curation of voices that – while such questions persist after reading, transformed into something more productive – the poems themselves overwhelm any theoretical position or argument about what or who this anthology represents.' (Introduction)
'Is an anthology greater than the sum of its parts? Does it effectively capture its milieu? Who’s been included, who left out? Is it genuinely of the moment? Will it endure? The case of Solid Air is even more complex. This is a collection of spoken word that’s been published as a book, rather than as a downloadable album, a film to be streamed, or a live show on tour (though there have been a string of impressive launches). Voice turned to ink, accent and emphasis turned into font, the unfolding of a poem in time turned into a presence on paper which is there in its entirety at one glance. Is this the stage surrendering to the supposed dominance of the page? Should I consider these poems purely in their physical form here, or as reminders of their performance elsewhere? Of course, editors David Stavanger and Anne-Marie Te Whiu know you’ll ask these questions, and it’s proof of their adept curation of voices that – while such questions persist after reading, transformed into something more productive – the poems themselves overwhelm any theoretical position or argument about what or who this anthology represents.' (Introduction)
'Anthologies tend to raise more interesting issues than individual books of poetry. It may be that they just raise different issues but that those they do raise are more obvious and pressing. They also have more structural issues than a book of poems by a single author. And then there is the question of what they assume their purpose is: to present the best, put some texts together for students, to establish a new literary-historical blueprint for the future of poetry, etc. Michael Farrell’s immensely enjoyable Ashbery Mode doesn’t try for any of these conventional aims. It is, essentially, a collection of poems celebrating the influence of John Ashbery in Australian poetry. I don’t think I have ever seen an anthology with such a rationale but that might just be an accident of my reading. At any rate, as a largely celebratory anthology – is it the poet’s equivalent of an academic Festschrift? – it makes no pretensions to creating new interpretations of the history of Australian poetry although, of course, it will select only poets seeing Ashbery as a valuable influence in their own work. And, as with a Festschrift, you have a sense of poets choosing which works to contribute. The book doesn’t anywhere say that this is the case but I’m sure, as a reader, that it is: in other words, the book’s structure isn’t entirely the work of a lone, godlike anthologist. One of its most charming features is its principle of organisation – always something of a bugbear for anthologists. It does this geographically, starting with Nicholas Powell and David Prater, Australian poets living in the reasonably remote Finland and Sweden, before working its way across the Atlantic to the West Coast of Australia, then up the East Coast, into East Asia and finally across the Pacific to the East Coast of the US.' (Publication summary)
'Australia has a strong history of poetry, albeit largely white and male. Henry Lawson, Banjo Patterson, Adam Lindsay Gordon, CJ Dennis, AD Hope and Dorothea Mackellar are all notable figures in Australia’s colonial history and literature. Why is it, then, that poetry collections are largely ignored by our major literary prizes?' (Introduction)
