Issue Details: First known date: 2024... 2024 Two Postscripts to Barron Field in New South Wales : The Resurrection and the Great Seal
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'Barron Field was, as we argued in our recent book Barron Field in New South Wales, responsible for the first volume of poetry published in Australia – a status flaunted in its title, First Fruits of Australian Poetry – and responsible also for the first articulation of the doctrine that later came to be known as terra nullius: that is, the foundational and genocidal legal fiction under which Australia was colonised by the British on the basis of its being previously uninhabited: i.e., that Aboriginal people, at least in the eyes of the law, simply didn’t exist, and, as not existing de jure, could be handled so as to become equally inexistent de facto. Our book examined what these two notable firsts had to do with each other. We claimed that it was no coincidence that the first Australian poet – the first person to have laid claim to that title, and indeed to have invented that category – was also the first legislator of terra nullius. Through close readings of the six poems that made up Field’s book from its second edition in 1823 – the first edition of 1819 contained just two poems – we argued that, far from being merely supplemental to his legal reformulation of the basis of colonisation, poetry was in fact instrumental to Field’s program to re-establish New South Wales on a new constitutional footing premised counterfactually on the non-existence of Aboriginal societies. To revert to a famous tag by Percy Shelley to which we paid considerable attention in the book: this poet really was the unacknowledged legislator of white Australia. In this foundational moment, the liberal colonial regime that underpinned future national development was poetic, we claimed, in inspiration, design and operation.'  (Introduction)

Publication Details of Only Known VersionEarliest 2 Known Versions of

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    y separately published work icon Cordite Poetry Review Treat no. 112 13 May 2024 28202355 2024 periodical issue

    'Why the theme TREAT? Because, as I said in the call-out for submissions, ‘Who couldn’t use a treat in these difficult times?’ Though the word ‘treat’ also has other meanings, which I encouraged poets to explore.

    'Nearly half of the poems I selected for this issue address the most familiar meaning of treat, though the type of treat varies. There were many poems about food and drink – like Zephyr Zhang’s rambunctious ‘Cucumis sativus parvus’, a poem in praise of mini cucumbers, or Megan Cartwright’s ‘My shout’, which has fun with the office coffee run – and also food as a vital component of culture, as in Lesh Karan’s ‘My mother’s kitchen’. There are unusual treats, as in Diane Suess’s sly yet bold ‘Better than to receive a treat, I would like to know the taste of a treat in someone else’s mouth’. There are poems in which the treat is existence itself, as in Moira Kirkwood’s exuberant ‘Fullest’ (‘I’ve had it with eking’). There are celebrations of the natural world, of music, language, friendship, and the freedom of solitude.' (Tricia Dearborn : Editorial introduction)

    2024
Last amended 4 Jun 2024 08:53:24
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