'She Woke & Rose is an obsession with interiors, an attempt to forge openings, to merge letters as means of release, slowly, slowly feels the longing, the fractures and the loss.
'‘When I state myself, as the Representative of the Verse – it does not mean – me – but a supposed person’, Emily Dickinson reveals. Here are multiple voices and personas rising and falling after their flowering periods.
'Alice Notley stresses that ‘words are one way to get at reality/poetry, what we’re in all the time’. When it comes to my reality and poetry, Inger Christensen’s fourth sequence in Alphabet simultaneously summarises and complicates it all for me:
doves exist, dreamers, and dolls;
killers exist, and doves, and doves;
haze, dioxin, and days; days
exist, days and death; and poems
exist; poems, days, death
'To make a stand and push it over, acknowledging the theatrics and violence of it all. I wish to confront rather than confess and as Felicity Plunkett writes it’s ‘when you pin and catch feeling in words / the tissue of its inconstancy / flakes away in your hands.’'
–Autumn Royal (Publication summary)
Dedication:
For my Star
to you I dedicate
my vision, since on this blank surface
you have cast enough light
to make my thought
visible again. -Louise Gluck
Epigraph:
We would not recognise an open rose
as a rose
because we come from a world
that cuts roses.
-MTC Cronin
'Just one of the many really interesting trails that thread through the seeming wilds of Australian poetry over the last two or so decades (cripes, has it been that long?) is the slow, constant morphing one of Cordite. Sydney poets Adrian Wiggins and Peter Minter, founders of Cordite Poetry and Poetics Review, launched their first issue in 1997. After five issues in a broadsheet format and an oscillating editorship that included Margaret Cronin and Jennifer Kremmer, the editorship was handed over in 2005 to David Prater, whose key innovation was to appoint guest editors for mini- and, later, entire issues.'
(Introduction)
'Just one of the many really interesting trails that thread through the seeming wilds of Australian poetry over the last two or so decades (cripes, has it been that long?) is the slow, constant morphing one of Cordite. Sydney poets Adrian Wiggins and Peter Minter, founders of Cordite Poetry and Poetics Review, launched their first issue in 1997. After five issues in a broadsheet format and an oscillating editorship that included Margaret Cronin and Jennifer Kremmer, the editorship was handed over in 2005 to David Prater, whose key innovation was to appoint guest editors for mini- and, later, entire issues.'
(Introduction)
