'A great deal of poetry and other creative writing uses diverse archival material, including the literary, historical and the biographical. Yet the relationship of creative writers—and creative artists more generally—to existing archives has often been uncomfortable and has posed significant questions for the writers, historians and archivists involved. This issue brings numerous research and creative perspectives to bear on these relationships, including the perspectives of writers who have found the archives richly populated with material relevant to their projects, and writers who have found very little archival material at all connecting to their creative work. In every case, these writers have addressed archival material in particular ways, shaping it for their own creative and often political purposes.' (Paul Hetherington Editorial)
Only literary material within AustLit's scope individually indexed. Other material in this issue includes:
3 Poems by Denise Duhamel
3 Poems by Tom Whalen
2 Poems by Leslie Prosterman
2 Poems by Lara Munden
‘The bones / say what / cannotbe give / voice’ :Archival untelling in M. NourbeSe Philip’s Zong! by Alyson Miller
2 Poems by Jon Wesick
Reimagining the archive by Roxanne Bodsworth
Anna Magdalena Bach's Missing Thimble by Anne M Carson
Rilke's Bees and The Archive As Hive by Willo Drummond
3 Poems by Robert Wylie and Benjamin Wilson
(Publication abstract)
'Imperial Greek rhetoricians defined ecphrasis as ‘descriptive speech which brings the subject shown before the eyes with visual vividness’ (Squire 2015: n.p.), since which time understandings of ekphrasis have evolved and narrowed. Recently, however, definitions of ekphrasis have been expanding to incorporate new media, digital images and augmented reality that engage with haptic and auditive experiences. The ancient concept of energeia—‘the evocation of a visual scene in all its details and colours’ (Cave 1976: 6)—is relevant to these new understandings, including in the presentation of the kind of archival material housed in the Helen Shea collection at Emerson College. Digital ekphrasis, such as one finds in the Klimt: The Immersive Experience installation, open up possibilities for fluid and wide-ranging representations of archival material, along with powerful considerations of this material’s relationships to complex social interactions. Such digital ekphrasis is able to evoke visual scenes in great detail and cast new and creative light on ekphrastic relationships.' (Publication abstract)
'Poetry is one way of documenting what is missed, excluded and neglected by institutionalised archives. Smaller cohorts of migrants and refugees with a reliance on oral stories to record their existence risk minimisation of their impact, influence and contribution to the collective memory of Australia. The experiences of migrants and refugees from Cyprus are recorded mostly through the prism and value-system of two dominating cultures: a British-centric culture and a Hellenic (Greek) culture. This paper seeks to show an alternative documentation of the Cypriot-Greek Australian-based diaspora. Through interviews with several Cypriot-Greek poets and a study of their poetry, a poetic biography of Cypriot-Greek diasporic identity can be created, one that is nuanced and memorable.' (Publication abstract)
'Drawing on the Irish notion of a ‘thin place’ (where the veil between us and the spirit world is so thin that we can sense those on the other side), this paper outlines an approach to archival research and creative practice which seeks to reawaken and give voice to the ghosts of some of Australia’s earliest refugees. This work uncovers new connections between the Great Irish Famine, a humanitarian crisis which halved Ireland’s population and the cyclical incarceration and abuse of young women in New South Wales in the 1860s and 1870s—to highlight a small but significant, yet largely unwritten, chapter in Irish-Australian history. Employing poetics of resistance incorporating elements of these young women’s outlawed native Irish language and culture, this work seeks to decolonise their memories and restore voice to those who suffered the brutal consequences of colonisation in both their native and adopted countries.' (Publication abstract)