y separately published work icon Australian Poetry Review periodical issue  
Issue Details: First known date: 2021... no. 16 2021 of Australian Poetry Review est. 2006- Australian Poetry Review
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Contents

* Contents derived from the , 2021 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Rereadings V : Martin Johnston: The Typewriter Considered as a Bee-Trap, Martin Duwell , single work review
— Review of The Typewriter Considered as a Bee-Trap Martin Johnston , 1984 selected work poetry ;

'Regular visitors to this site will know that these “Rereadings” are my excuse to look again at books which have meant a lot to me in the past but which, for one reason or another, I haven’t written about. I have long been wanting to revisit Martin Johnston’s last collection of poems, not because I feel that after thirty years it would be interesting to see whether his reputation has grown, plateaued or declined but because there are a number of very difficult poems in the book – especially those of the large, final sequence, “To the Innate Island” – that I might understand better if I could devote some serious time to them. Entirely coincidentally, 2020 saw the release of Johnston’s selected poems in a volume, Beautiful Objects, edited (with an excellent biographical introduction) by Nadia Wheatley, designed to celebrate the thirtieth anniversary of Johnston’s death. This volume, together with John Tranter’s Martin Johnston: Selected Poems and Prose, published in 1993, is a sign that readers of Australian poetry might be less prepared, in Johnston’s case, to let his memory slide into oblivion than they are in the case of other poets born after the war.' (Introduction)

Note: Posted on 1 January 2021
Rose Hunter : Anchorage, Martin Duwell , single work review
— Review of Anchorage Rose Hunter , 2020 selected work poetry ;
Note: Posted on 1 February 2021
Philip Hammial : Inveigling Snafus, Martin Duwell , single work review
— Review of Inveigling Snafus Philip Hammial , 2021 selected work poetry ;

'Philip Hammial’s latest collection – his thirty-fourth – is an opportunity for readers to re-enter the strange and compelling world of his poetry – something we have been doing since the mid-seventies. The length of this career makes the energy of the poems all the more extraordinary and, as readers of the various reviews I have written of his work will know, I think energy is one of its defining characteristics. And it’s an energy that shows no signs of faltering as the poet enters old age – the “Age of Frail” as one of the poems calls it. Inveigling Snafus forms something of a pair with Detroit and Selected Poems which was published in 2018 in the US. Ideally this latter book (an update of his previous selected, Asylum Nerves, with the poems from the first ten years of his books dropped and replaced by a full-length version of his 2011 volume, Detroit) would provide a career overview against which Inveigling Snafus could be examined for developments, or at least, changes.' (Introduction)

Note: Posted on 1 March 2021
Peter Boyle : Notes Towards the Dreambook of Endings, Martin Duwell , single work review
— Review of Notes Towards the Dreambook of Endings Peter Boyle , 2020 selected work poetry ;
'Peter Boyle’s new book should probably be read in conjunction with his previous volume Enfolded in the Wings of a Great Darkness as being profoundly influenced by the death of his partner. These are poems where death, memories, otherworlds and revenants turn up regularly. But it would be wrong to see it as marking any kind or radical change in emphasis in Boyle’s distinctive and impressive poetry. As far as I can see (and critically guess) it’s a matter of an altered emphasis on themes which have been present since his first book, Coming Home from the World.' (Introduction)
Note: Posted on 1 April 2021
Stephen Edgar: The Strangest Place: New and Selected Poems, Martin Duwell , single work review
— 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)

Note: Posted on 1 May 2021
John Hawke : Whirlwind Duststorm, Martin Duwell , single work review
— Review of Whirlwind Duststorm John Hawke , 2021 selected work poetry ;
'Poems come claiming many different identities. There are those that aspire to be no more than songs, those that exemplify a previously worked out aesthetic theory, those that worry at an aspect of their author’s inner life, those (“I do this, I do that” poems) that want to take a slice of random individual experience of the world, those that are slabs of discourse engaged with issues of the world, and so on. The feeling I have about the fine and rather unsettling poems of John Hawke’s second book is that they aspire to be strong, free-standing objects. And I don’t mean by this that they are just tightly structured well-made pieces – though they are that – rather that they shun being dependent on meaning for their strength and stability. At the same time, they don’t seem to relate to the generative imperatives of Surrealist poetry where, in that deeply French way, unity derives from development out of a single unified process.' (Introduction)
Note: Posted on 1 July 2021
Kristen Lang : Earth Dwellers, Martin Duwell , single work review
— Review of Earth Dwellers Kristen Lang , 2021 selected work poetry ;
'This century has seen the human race enter a condition not previously experienced. Cyclic spells of natural disaster, warfare and horror have always been a part of our existence but I think it is the first time that we have ever felt the fragility of the natural world. It is quite remarkable how a few years ago we might have seen the Amazon basin, for example, as a stupendous and daunting natural phenomenon, a fit setting for danger, adventure and discovery. Now it seems an endangered and delicate ecosystem. And the same could be said of things like the oceans, “smaller” things like the Great Barrier Reef, even smaller things like individual species down to a host of microscopic phenomena. There will be those of course who claim, and have claimed, that this is just politically motivated fear-tactics designed to help a smug middle-class push its agenda in a culture war. A quarter of a century ago this might have been a poor, but at least a tenable, position but it certainly isn’t now. The mongols aren’t just a vague rumour from the East: they really are coming.' (Introduction)
Note: Posted on 1 August 2021
John Kinsella : Supervivid Depastoralism, Martin Duwell , single work review
— Review of Supervivid Depastoralism John Kinsella , 2021 selected work poetry ;
'Supervivid Depastoralism is Wakefield Press’s contribution to getting the prodigious output of John Kinsella into print. It’s an output that seems to require several publishers just to keep up with the author. Its unusual title is also something of a guide, reminding readers that they are going to be exposed to a very complex and highly idiosyncratic approach to the ecological state of the current world and the reactions of one poet living inside it: each of its two words is a neologism pressed into service to play a role in Kinsella’s view of things. It’s the kind of title that doesn’t appeal to the sort of publishers who hope their books will appear on bestseller lists: I’m reminded of the story that Thomas Mann’s Lotte in Weimar had to have, in its English translation, the grotesque title The Beloved Returns because American publishers were worried about a title in which two of the three words would not be familiar to their hoped-for audience. Or perhaps they hoped financiers would buy the book having misread “returns” as a noun rather than a verb.' (Introduction)
Note: Posted on 1 September 2021
Jane Gibian : Beneath the Treeline; Amanda Anastasi : The Inheritors, Martin Duwell , single work review
— Review of Beneath the Tree Line Jane Gibian , 2021 selected work poetry ; The Inheritors Amanda Anastasi , 2021 selected work poetry ;

'The author’s note which accompanies Jane Gibian’s Beneath the Tree Line begins by saying, “More and more I have become preoccupied with the natural world and our place in its increasingly precarious situation”. This together with the emphasis on those who will be stuck with our mess in Amanda Anastasi’s The Inheritors inevitably suggested their connection and a chance to round out, as it were, the emphases behind the books reviewed in my previous two posts. In fact, both books have more in them than an obsession with the cumulative toxic effects of the Anthropocene, Jane Gibian’s book, especially. Its five parts comprise five different perspectives on living which could be summarised, very crudely, as: living in the world, in language, in the digital age, the act of living in itself and living in the natural world.' (Introduction)

Note: Posted on 1 October 2021
Petra White : Cities, Martin Duwell , single work review
— Review of Cities Petra White , 2021 selected work poetry ;
'Petra White’s Cities is a slim book by current standards but it is a dense one and there is a lot to be said for connecting it to its predecessor, Reading for a Quiet Morning. Both, for instance, begin by broaching crucial themes in the form of a revisiting and reconstruction of an existing myth. In Reading for a Quiet Morning the myth revisited was Ezekiel’s strange visions “at the edge of the Chebar” during the Babylonian exile. In Cities it is the old Greek story of Demeter and her lost daughter, Persephone. Taking an even longer perspective we can see that White has often employed sequences to work away at a theme and often these sequences are comprised of quite different poems. What strikes me about “How the Temple was Built” – the long sequence based around Ezekiel – and “Demeter”, is the way they each seem bifurcated, able to develop in two different directions.' (Introduction)
Note: Posted on 1 November 2021
K. F. Pearson : The Complete Apparition, Martin Duwell , single work review
— Review of The Complete Apparition K. F. Pearson , 2021 selected work poetry ;

'Somehow it’s hard not to warm to a book whose acknowledgements page tells us that many of the poems about “the apparition” – the character or state that the whole lengthy work is devoted to – “have been rejected by prominent magazines and anthologies. I would like to thank them for authenticating the nature of his character. The few that did take poems I do not embarrass by naming them”. And you can see why it would be difficult to get these poems into journals. Most of them are attempts to define something indefinable and their strategy is to continuously look at the subject from different angles, different perspectives and different genres: not something that produces stand-alone works. On top of this the poems are often very rough, sometimes even doggerel though – I’ll look at this later on – this seems to be a deliberate ploy on the author’s part, perhaps to avoid the unwanted elegances of symbolism.' (Introduction)

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