'In a world both foul and fallen, where delusion, death, and unassailable Dummheit seem to wait on every corner, what can poetry do that warrants our rapt attention more than every other kind of distraction? Justin Clemens voiced the common lament when he wrote, ‘No-one reads poetry anymore, there being not enough time and more exciting entertainments out there.’ The issue, he said, is ‘a materialist problem that has always proven fundamental for poets: how to compose something that, by its own mere affective powers alone, will continue to be read or recited’ (‘Being Caught dead’, Overland, 202, 2011). That clinches the dilemma rather well. And yet, entertainment or not – and effective or not in their affective power – poetry collections seem to endure as a place, of Lilliputian dimensions, to encounter other worlds and world views.' (Introduction)