image of person or book cover 1500651534342720127.jpg
Image courtesy of publisher's website.
Issue Details: First known date: 2020... 2020 The Strangest Place : New and Selected Poems
The material on this page is available to AustLit subscribers. If you are a subscriber or are from a subscribing organisation, please log in to gain full access. To explore options for subscribing to this unique teaching, research, and publishing resource for Australian culture and storytelling, please contact us or find out more.

AbstractHistoryArchive Description

'The strangest place, this world of fact and figment we astonishingly find ourselves inhabiting, is the territory that Stephen Edgar’s poetry has been probing and framing for over four decades now, looking out on the evanescent representations of light and inwards on the mind and “the gyre of its own consciousness”, feeling “toward the labyrinth just behind Creation’s serene surface”, as Alan Gould described it, and “trying to keep faith poetically with that strangeness of the world”, in the words of Peter Steele.

'The Strangest Place offers a retrospective on Edgar’s career, with selections from each of his previous ten books. Opening the collection is a book-length section of new poems, Background Noise, which continues and extends the range of his meditations, with characteristic technical mastery, interspersed with the title’s leitmotiv, whether the notes of lorikeets in the morning trees, echoing voices in an abandoned railway tunnel, the mind’s running commentary or the cosmic hum beyond the death of the stars.' (Publication summary)

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Fitzroy North, Fitzroy - Collingwood area, Melbourne - North, Melbourne, Victoria,: Black Pepper , 2020 .
      image of person or book cover 1500651534342720127.jpg
      Image courtesy of publisher's website.
      Extent: 302p.
      Note/s:
      • Published 22 November 2020
      ISBN: 9780648038740

Works about this Work

Kevin Hart Reviews The Strangest Place by Stephen Edgar Kevin Hart , 2021 single work review
— Appears in: Mascara Literary Review , December no. 27 2021;

— Review of The Strangest Place : New and Selected Poems Stephen Edgar , 2020 selected work poetry

'Poetry always involves a delicate negotiation between craft and art. Craft can easily be misunderstood as a set of skills completely external to what is being written. Yet a poet shows craft by moving confidently within the work developing on the page. Often, when one looks at an intricately rhymed stanza, perhaps one with five, six or seven lines of varying length, such as Stephen Edgar favors, one might be tempted to think that the work has been composed, even revised, in the poet’s mind and then set down on the page. There are such compositions, some of them admirable, and examples can be found in volumes of minor seventeenth-century verse. The effect is known as “Ciceronian”: the style is marked by balance, antitheses, and repetition; it was developed to a high pitch in prose, not verse. Nothing could be further from Edgar’s characteristic way of writing, which is usually “Anti-Ciceronian.” Here sentences unfold naturally rather than exhibit a resolved formal beauty, and often the style is marked by asymmetric constructions. The poem shows a mind thinking as it progresses from stanza to stanza.'  (Introduction)

Stephen Edgar: The Strangest Place: New and Selected Poems Martin Duwell , 2021 single work review
— Appears in: Australian Poetry Review , no. 16 2021;

— Review of The Strangest Place : New and Selected Poems Stephen Edgar , 2020 selected work poetry

'Stephen Edgar always seems to me to be one of the most unusual of major Australian poets. Half a century ago there was an important shift from poems that made their way in the world as objects structured by conventions of rhyme and metre to what is usually called free verse but is really a recognition of a poem’s right to be a piece of discourse as long as it fulfils the obligation of being an interesting piece of discourse in terms of its conception and its execution. Fifty years produces an awful lot of examples but an obvious one might be Les Murray’s “Bulahdelah-Taree Holiday Song Cycle” which is, in a sense, a pastiche of an Aboriginal song cycle and whose challenge – successfully achieved, most readers would think – is to avoid any sense in its tone that it is mocking either Aboriginal singers or modern holiday-makers. When contemporary poets do use the old metrical/rhyming structures there is usually a touch of post-modernist flamboyance about it: “I don’t really believe in these archaic modes but I can do them perfectly well”. A sense of the attractions of formality always accompanies poetry no matter what phase it is in and contemporary poets are more likely to be attracted to the sort of arbitrary formal structures that the Oulipo group exercise themselves in generating.'

(Introduction)

An Assured Place : Australia’s Pre-eminent Formalist Geoff Page , 2021 single work review
— Appears in: Australian Book Review , March no. 429 2021; (p. 53-54)

— Review of The Strangest Place : New and Selected Poems Stephen Edgar , 2020 selected work poetry

'Stephen Edgar, over the past two decades or so, has earned himself an assured place in contemporary Australian poetry (even in English-language poetry more generally) as its pre-eminent and most consistent formalist. His seemingly effortless poems appear in substantial overseas journals, reminding readers that rhyme and traditional metre have definitely not outlived their usefulness.' (Introduction)

An Assured Place : Australia’s Pre-eminent Formalist Geoff Page , 2021 single work review
— Appears in: Australian Book Review , March no. 429 2021; (p. 53-54)

— Review of The Strangest Place : New and Selected Poems Stephen Edgar , 2020 selected work poetry

'Stephen Edgar, over the past two decades or so, has earned himself an assured place in contemporary Australian poetry (even in English-language poetry more generally) as its pre-eminent and most consistent formalist. His seemingly effortless poems appear in substantial overseas journals, reminding readers that rhyme and traditional metre have definitely not outlived their usefulness.' (Introduction)

Stephen Edgar: The Strangest Place: New and Selected Poems Martin Duwell , 2021 single work review
— Appears in: Australian Poetry Review , no. 16 2021;

— Review of The Strangest Place : New and Selected Poems Stephen Edgar , 2020 selected work poetry

'Stephen Edgar always seems to me to be one of the most unusual of major Australian poets. Half a century ago there was an important shift from poems that made their way in the world as objects structured by conventions of rhyme and metre to what is usually called free verse but is really a recognition of a poem’s right to be a piece of discourse as long as it fulfils the obligation of being an interesting piece of discourse in terms of its conception and its execution. Fifty years produces an awful lot of examples but an obvious one might be Les Murray’s “Bulahdelah-Taree Holiday Song Cycle” which is, in a sense, a pastiche of an Aboriginal song cycle and whose challenge – successfully achieved, most readers would think – is to avoid any sense in its tone that it is mocking either Aboriginal singers or modern holiday-makers. When contemporary poets do use the old metrical/rhyming structures there is usually a touch of post-modernist flamboyance about it: “I don’t really believe in these archaic modes but I can do them perfectly well”. A sense of the attractions of formality always accompanies poetry no matter what phase it is in and contemporary poets are more likely to be attracted to the sort of arbitrary formal structures that the Oulipo group exercise themselves in generating.'

(Introduction)

Kevin Hart Reviews The Strangest Place by Stephen Edgar Kevin Hart , 2021 single work review
— Appears in: Mascara Literary Review , December no. 27 2021;

— Review of The Strangest Place : New and Selected Poems Stephen Edgar , 2020 selected work poetry

'Poetry always involves a delicate negotiation between craft and art. Craft can easily be misunderstood as a set of skills completely external to what is being written. Yet a poet shows craft by moving confidently within the work developing on the page. Often, when one looks at an intricately rhymed stanza, perhaps one with five, six or seven lines of varying length, such as Stephen Edgar favors, one might be tempted to think that the work has been composed, even revised, in the poet’s mind and then set down on the page. There are such compositions, some of them admirable, and examples can be found in volumes of minor seventeenth-century verse. The effect is known as “Ciceronian”: the style is marked by balance, antitheses, and repetition; it was developed to a high pitch in prose, not verse. Nothing could be further from Edgar’s characteristic way of writing, which is usually “Anti-Ciceronian.” Here sentences unfold naturally rather than exhibit a resolved formal beauty, and often the style is marked by asymmetric constructions. The poem shows a mind thinking as it progresses from stanza to stanza.'  (Introduction)

Last amended 30 Aug 2023 07:38:06
Newspapers:
    Powered by Trove
    X