Cirrus@Austlit

'The poems of Amanda Frances Johnson’s fourth book have the same kind of double focus as those of her earlier collections. They look towards personal and family history as well as outwards to a world that seems fraught with intimations of apocalypse. And, as with the earlier books, the poems are divided into large sections with related titles in a way that stresses that these are not self-contained poetic subjects. In The Wind-up Birdman of Moorabool Street there were future, present and past sections; in Rendition for Harp & Kalashnikov the three sections were homophonic puns – “Soar”, “Sore” and “Saw”. Here the two sections are “Save Us” and “Save As”, the former generally made up of poems focussing on individuals and the second on wider, public concerns. It’s perhaps worth pointing out that the title of the latter (which doubles as the title of the whole collection) is something of a motif in Johnson’s work. It appears as early as in the poem, “Future Ark”, from The Wind-up Birdman of Moorabool Street where the saving of species is done digitally – “inside the darkened hull, / /under haloes of urgent ultraviolet, / you hit save as”. A somewhat similar scenario of a future flood generated by climate catastrophe appears in “Ultima Thule: Swimming Lessons” from Rendition for Harp & Kalashnikov and the same pun, “save as”, is deployed at the end. At any rate, the way her books are structured suggests a desire to see relationships between poems that look outward towards the gathering storm and those that focus on individuals, especially family members. These latter poems tend not to explore inner lives but rather lives under great stress and as such could be seen as intimate versions of those that focus on planet-wide matters.' (Introduction)