'The poems in Mirabilia test the relationship between art and politics. They are ekphrastic poems complicated by historical narrative; or, they are political poems, inspired by artworks. The title poem is a tribute to the pangolin, the world’s most-trafficked mammal implicated, some say, in the evolution of coronavirus.
'Written in Fibonacci syllabics, it is also a reflection on Marianne Moore’s poem The Pangolin w ith its sense of nature’s perpetuity lost in the years since her poem was written. The final sequence Great World Atlas tracks the destructive extent of nuclear testing across the world in the 1960s.
'It was written for Izabela Pluta’s artist’s book Figures of Slippage and Oscillation. The sequence Tongue reflects on da Vinci’s 1478 painting The Benois Madonna , including the circumstances of its creation in the Pazzi conspiracy and the life of Fioretta del Cittadino perhaps the painting’s model who gave birth to the child of the murdered man. Her child was taken; she was written out of the record. In other poems too, Gorton reflects on the experience of the female muse, wife, or mother.' (Publication summary)
'If extraordinary things (‘mirabilia’) attract our attention and interest us, it seems inevitable that our perceptions will either occlude or indulge complexities that aren’t obvious, that are correlatives of loss or damage. And part of the poet’s task is to illuminate and possibly contest these subtextual correlatives. In Lisa Gorton’s new collection of poetry, Mirabilia, this is certainly the case — in fact, it is a book of contesting ways of seeing and manners around expression. Visual art can be extraordinary, but its making can so easily have hidden negative consequences. Poetry can give with one line and take with the next. Gorton has worked to create a poetry that critiques its own presence as art, that asks difficult questions about its processes, and analyses the way language has been used to arrive at ‘the poem’. ' (Introduction)
'Mirabilia is the plural form of the Latin mirabile: wonderful thing, marvel. Since the publication of her first book, Press Release, in 2007, Lisa Gorton has cultivated such a voice in Australian poetry. Mordant political wit, formal and thematic bricolage, a liquid control of the line, and the ability to trace patterns across the strata of history and society – to rove between time and the timeless – have long characterised Gorton’s oeuvre. She showcases the full complement of her gifts in this wondrous and disquieting new collection.' (Introduction)
'Mirabilia is the plural form of the Latin mirabile: wonderful thing, marvel. Since the publication of her first book, Press Release, in 2007, Lisa Gorton has cultivated such a voice in Australian poetry. Mordant political wit, formal and thematic bricolage, a liquid control of the line, and the ability to trace patterns across the strata of history and society – to rove between time and the timeless – have long characterised Gorton’s oeuvre. She showcases the full complement of her gifts in this wondrous and disquieting new collection.' (Introduction)
'If extraordinary things (‘mirabilia’) attract our attention and interest us, it seems inevitable that our perceptions will either occlude or indulge complexities that aren’t obvious, that are correlatives of loss or damage. And part of the poet’s task is to illuminate and possibly contest these subtextual correlatives. In Lisa Gorton’s new collection of poetry, Mirabilia, this is certainly the case — in fact, it is a book of contesting ways of seeing and manners around expression. Visual art can be extraordinary, but its making can so easily have hidden negative consequences. Poetry can give with one line and take with the next. Gorton has worked to create a poetry that critiques its own presence as art, that asks difficult questions about its processes, and analyses the way language has been used to arrive at ‘the poem’. ' (Introduction)
