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y separately published work icon Hoard selected work   poetry  
Issue Details: First known date: 2015... 2015 Hoard
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AbstractHistoryArchive Description

'he poems in Tracy Ryan's latest collection move on 'feet of drought and tinder' from Australia to the bogs of Ireland, drawing on many eras, to test the edges of both a cutover myth and a real landscape in need of recognition and preservation. What emerges from this poetic bogland is a hoard, an archive of histories and wishes, bright gold 'glimpses yielding up fragments then closing over'.' (Publication summary)

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Geelong, Geelong City - Geelong East area, Geelong area, Geelong - Terang - Lake Bolac area, Victoria,: Whitmore Press , 2015 .
      image of person or book cover 1642250328172970238.jpg
      Image courtesy of publisher's website.
      Extent: 49p.
      Note/s:
      • Launched in Melbourne on 31 August
      ISBN: 9780987386656
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Works about this Work

Bog Poetics : Tracy Ryan and Seamus Heaney Melanie Duckworth , 2021 single work essay
— Appears in: Social Alternatives , October vol. 40 no. 3 2021; (p. 57-59) 'Tracy Ryan’s 2015 poetry collection, Hoard, muses upon the bogs of the poet’s ancestral Ireland. In doing so, Ryan engages knowingly with a landscape already excavated and embraced in poetry, as Seamus Heaney repeatedly wrote about bogs and bog bodies, heeding a call to ‘Lie down / in the word-hoard’ (1992: 11). A bog, as Ryan explains in a note at the end of the collection, ‘is a kind of wetland, like a sponge full of water, composed of peat – dead, partly decayed plant matter built up over great lengths of time . . . These conditions mean that things found in bogs are often near-perfectly preserved – from ancient hoards of tools and jewellery to actual human bodies’ (2015: 49). A bog is thus an amalgamation of disparate temporalities and materialities. Organic and inorganic matter, water, earth and plant matter create an acidic environment deprived of oxygen, in which human and animal bodies, medieval weapons, bronze age collars, Victorian boots, and modern rubbish can co-exist silently, hidden. Bogs are thus uniquely illustrative examples of what Serenella Iovino and Serpil Oppermann call ‘storied matter’: ‘a material “mesh” of meanings, properties, and processes, in which human and nonhuman players are interlocked in networks that produce undeniable signifying forces’ (2014: 1-2). While for Iovino and Oppermann, all matter is storied, for poets such as Ryan and Heaney, the stories encased and layered in bogs are particularly enticing.' (Introduction)
Chloe Wilson Reviews Tracy Ryan and Jill Jones Chloe Wilson , 2016 single work review
— Appears in: Cordite Poetry Review , no. 53.0 2016;
— Review of Hoard Tracy Ryan , 2015 selected work poetry ; Breaking the Days Jill Jones , 2015 selected work poetry
Found in Translation Geoff Page , 2016 single work review
— Appears in: The Weekend Australian , 16-17 January 2016; (p. 19)
— Review of Selected Poems from Les Fleurs Du Mal Charles Baudelaire , Jan Owen (translator), 2015 selected work poetry ; The Offhand Angel : New and Selected Poems Jan Owen , 2015 selected work poetry ; Hoard Tracy Ryan , 2015 selected work poetry
A Review of Tracy Ryan’s Hoard and Jan Napier’s Thylacine Mags Webster , 2016 single work review
— Appears in: Westerly : Walking with the Flaneur 2016; (p. 108-111)
— Review of Hoard Tracy Ryan , 2015 selected work poetry ; Thylacine Jan Napier , 2015 selected work poetry
[Review] Jill Jones, Breaking the Days [and] Trayc Ryan, Hoard Heather Taylor Johnson , 2016 single work review
— Appears in: Transnational Literature , November vol. 9 no. 1 2016;
— Review of Breaking the Days Jill Jones , 2015 selected work poetry ; Hoard Tracy Ryan , 2015 selected work poetry
Marion May Campbell Launches Tracy Ryan’s Hoard Marion Campbell , 2015 single work review
— Appears in: Cordite Poetry Review , October no. 51.1 2015;
— Review of Hoard Tracy Ryan , 2015 selected work poetry
Found in Translation Geoff Page , 2016 single work review
— Appears in: The Weekend Australian , 16-17 January 2016; (p. 19)
— Review of Selected Poems from Les Fleurs Du Mal Charles Baudelaire , Jan Owen (translator), 2015 selected work poetry ; The Offhand Angel : New and Selected Poems Jan Owen , 2015 selected work poetry ; Hoard Tracy Ryan , 2015 selected work poetry
Chloe Wilson Reviews Tracy Ryan and Jill Jones Chloe Wilson , 2016 single work review
— Appears in: Cordite Poetry Review , no. 53.0 2016;
— Review of Hoard Tracy Ryan , 2015 selected work poetry ; Breaking the Days Jill Jones , 2015 selected work poetry
[Review] Jill Jones, Breaking the Days [and] Trayc Ryan, Hoard Heather Taylor Johnson , 2016 single work review
— Appears in: Transnational Literature , November vol. 9 no. 1 2016;
— Review of Breaking the Days Jill Jones , 2015 selected work poetry ; Hoard Tracy Ryan , 2015 selected work poetry
A Review of Tracy Ryan’s Hoard and Jan Napier’s Thylacine Mags Webster , 2016 single work review
— Appears in: Westerly : Walking with the Flaneur 2016; (p. 108-111)
— Review of Hoard Tracy Ryan , 2015 selected work poetry ; Thylacine Jan Napier , 2015 selected work poetry
Bog Poetics : Tracy Ryan and Seamus Heaney Melanie Duckworth , 2021 single work essay
— Appears in: Social Alternatives , October vol. 40 no. 3 2021; (p. 57-59) 'Tracy Ryan’s 2015 poetry collection, Hoard, muses upon the bogs of the poet’s ancestral Ireland. In doing so, Ryan engages knowingly with a landscape already excavated and embraced in poetry, as Seamus Heaney repeatedly wrote about bogs and bog bodies, heeding a call to ‘Lie down / in the word-hoard’ (1992: 11). A bog, as Ryan explains in a note at the end of the collection, ‘is a kind of wetland, like a sponge full of water, composed of peat – dead, partly decayed plant matter built up over great lengths of time . . . These conditions mean that things found in bogs are often near-perfectly preserved – from ancient hoards of tools and jewellery to actual human bodies’ (2015: 49). A bog is thus an amalgamation of disparate temporalities and materialities. Organic and inorganic matter, water, earth and plant matter create an acidic environment deprived of oxygen, in which human and animal bodies, medieval weapons, bronze age collars, Victorian boots, and modern rubbish can co-exist silently, hidden. Bogs are thus uniquely illustrative examples of what Serenella Iovino and Serpil Oppermann call ‘storied matter’: ‘a material “mesh” of meanings, properties, and processes, in which human and nonhuman players are interlocked in networks that produce undeniable signifying forces’ (2014: 1-2). While for Iovino and Oppermann, all matter is storied, for poets such as Ryan and Heaney, the stories encased and layered in bogs are particularly enticing.' (Introduction)
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Awards

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Last amended 10 Sep 2015 15:56:37
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