Kendalyn Mckisick (International) assertion Kendalyn Mckisick i(20296409 works by)
Gender: Unknown
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Works By

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1 A Strange Magic Kendalyn Mckisick , 2020 single work review
— Appears in: Antipodes , vol. 34 no. 2 2020; (p. 398-400)

— Review of The Anthology of Australian Prose Poetry 2020 anthology poetry prose

'A book that has been long awaited, Anthology of Australian Prose Poetry, provides an overview of how prose poetry has come into the Australian poetic landscape while presenting a variety of prose poems written by Australian poets who are breaking away from conservative, traditional poetic forms. These poets stand next to one another here—as a sort of resistance—unified by a shared belief that prose can and should be an acceptable entry for poetics. The featured poems are varied in content while also providing examples of how a prose poem might approach taking up space on the page. Each block of text uncovers a unique truth: "Until now, and despite the excellence of prose poetry in Australia, there has never been such an anthology, although poets since 2002 … have called for one to be published, … the result of relative neglect of prose poetry by critics and editors in Australia" (1). The anthology opens with a fourteen-page essay of exposition from the editors that seeks to explain the why of the book and bring readers to a level ground of understanding before experiencing the delight to come.' (Introduction)

1 Yearning for a Time beyond Time Kendalyn Mckisick , 2019 single work review
— Appears in: Antipodes , vol. 33 no. 2 2019; (p. 443-445)

— Review of (Un)belonging Nathanael O'Reilly , 2020 selected work poetry
1 Visiting Is an Art Kendalyn Mckisick , 2019 single work review
— Appears in: Antipodes , June vol. 33 no. 1 2019; (p. 183-184)

— Review of Renga : 100 Poems John Kinsella , Paul Kane , 2017 selected work poetry

'While traversing the longtime friendship shared between the poets as well as the land they both inhabit, the experience I had while reading the coauthored book Renga: 100 Poems, by John Kinsella and Paul Kane is a truly unique one because of their willingness to try an innovative project with the traditional Japanese form of renga as the driving force. To continue a call-and-response between two people in the form of renga over the span of ten years is quite bold and also a challenge, considering that traditionally the poems are written in one sitting, usually during a gathering, by more than two people—essentially renga was a party game. Here, however, solitude seems to be at the center of most of these poems, in which the observation turns inward.' (Introduction)

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