'Harsh Hakea is John Kinsella’s second volume of collected works dating from 2005 to 2014 capturing a career in media res. It includes poems from widely read volumes like Jam Tree Gully, which won the 2013 Prime Minister’s Literary Award for Poetry, and ones from lesser-known volumes like Love Sonnets, which was published by the British small press, Equipage.
'For the first time, John Kinsella’s poetry is collected in one place, including poems that have appeared in chapbooks, publications outside of Australia, and those which are no longer in print. In this volume, Kinsella’s poetry exemplifies a heightened awareness of the specificity of place, but also of the perspective of being within it or removed from it, as a guest living on stolen Aboriginal land. Kinsella’s poems often begin with the personal and broaden out in their reach. Reading this second volume of the Collected forces the reader to consider questions that have no convenient answer, that remain pressing still today; questions about self-destruction, masculinity, environmentalism, mortality, violence, and protest. This is a volume that is deeply moving at times, unsettling at others, sometimes both – a landmark addition to Australian literature.' (Publication summary)
Spirals : Collected Poems Volume Three (2014-2023)
Crawley
:
UWA Publishing
,
2024
27370230
2024
selected work
poetry
'Spirals is the third and final volume of John Kinsella's collected poems and dates from 2014-2023, seeing Kinsella through his fifties and without an end in sight. Spirals is not a case of a poet growing older, steadier, and more sedate but rather brings an ongoing sense of development that is also recursive and spatial. Politically, institutionally, and attitudinally, Kinsella remains an outsider.
'John Kinsella's poetry is collected in one place for the very first time and includes poems that have appeared in chapbooks, publications outside of Australia, and some that are no longer in print. In this final volume, the spiralling effects of time combined with Kinsella's probing and connections in space have brought his poetry an authority and a sense of being listened to not only with awe but with respect. And still, Kinsella renounces any inflated self. Instead of basting in a perversely satisfying white guilt, or retreating to a passive melancholy, Kinsella is active, dynamic, and even exuberant. His poetry is replete with astounding energy that is creative and forward-looking while remaining concerned about environmental damage, exploitations of neoliberalism and militarism, and the continuing illegitimacies of unacknowledged settler occupation. Kinsella's final volume marks the culmination. (Publication summary)
'This chapter argues that ecopoetry is too easily absorbed back into the logics of capitalism and colonialism. Aware of the delimiting forces surrounding its own context, the chapter argues to be taken not as an essay but as an action. It argues that for a poem to bring about environmental change, it must be part of connected interventions. The chapter outlines the poetic yarning between John Kinsella and Charmaine Papertalk Green, a member of the Wajarri, Badimaya, and Nhanagardi people of the Yamaji Nation, as a means of generative protest. It also provides an example of poems written in medias res in the collective resistance to a proposal to build bike trails on Walwalinj, a mountain sacred to the Ballardong Noongar people. This example demonstrates a poem is shaped by the particular situation and how the poem is one part of a network of actions that formed a campaign that was led by Aboriginal elders. The chapter also includes collaborative poetry written during the Roe 8 Highway protests in 2016 and poetry protesting the proposed destruction of the Julimar Forest by mining companies.'
Source: Abstract.
'This chapter argues that ecopoetry is too easily absorbed back into the logics of capitalism and colonialism. Aware of the delimiting forces surrounding its own context, the chapter argues to be taken not as an essay but as an action. It argues that for a poem to bring about environmental change, it must be part of connected interventions. The chapter outlines the poetic yarning between John Kinsella and Charmaine Papertalk Green, a member of the Wajarri, Badimaya, and Nhanagardi people of the Yamaji Nation, as a means of generative protest. It also provides an example of poems written in medias res in the collective resistance to a proposal to build bike trails on Walwalinj, a mountain sacred to the Ballardong Noongar people. This example demonstrates a poem is shaped by the particular situation and how the poem is one part of a network of actions that formed a campaign that was led by Aboriginal elders. The chapter also includes collaborative poetry written during the Roe 8 Highway protests in 2016 and poetry protesting the proposed destruction of the Julimar Forest by mining companies.'
Source: Abstract.
