Hi Fax single work   poetry  
  • Author:agent Pamela Brown http://www.poetrylibrary.edu.au/poets/brown-pam
Issue Details: First known date: 2016... 2016 Hi Fax
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Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Active Aesthetics : Contemporary Australian Poetry Daniel Benjamin (editor), Claire Marie Stancek (editor), United States of America (USA) Australia : Tuumba Press Giramondo Publishing , 2016 9514521 2016 anthology poetry

    'Poetry. A collection of work by innovative Australian poets whose work shares an interest in "a primary art of transformation in language" (from the introduction). All contributors traveled to the San Francisco Bay Area in April 2016 to participate in a four-day meeting with similarly-committed U.S.-based poets. The title of the event is also that of the anthology, which its editors intend as an extension and prolongation of the April gathering. ACTIVE AESTHETICS brings news across the Pacific and across the equator of Australia's current radical poetry and poetics. As is true of new poetry in the US, much of the work here reflects the complexity and urgency of political thinking within the aesthetic sphere.'

    Source: Publisher's blurb.

         United States of America (USA) Australia : Tuumba Press Giramondo Publishing , 2016
  • Appears in:
    y separately published work icon The Language in My Tongue : An Anthology of Australian and New Zealand Poetry Cassandra Atherton (editor), Paul Hetherington (editor), Australia : FarFlung Editions , 2022 24888961 2022 anthology poetry

    'This new anthology of Australian and New Zealand poetry is remarkable for its exuberance, its vitality, and the notably youthful vibrancy of its free verse as well as its innovative prose poetry.  Including a wide range of voices from such well-known poets as John Kinsella, Pam Brown, and John Tranter to relative new-comers like Chris Tse and essa may ranapiri, The Language in my Tongue is full of surprises and special pleasures.

    —Marjorie Perloff, Professor Emerita of English
     at Stanford University and Florence R. Scott Professor
     of English Emerita at the University of Southern California

    'Here are vernaculars. Here are modern-day classics. Here is a “mind in an unclear world,” “a space perfection will never survive.”  Here is invention permitted to travel the world, in dense prose poems and in chatty ones, in capable free verse and ghazals, “emissaries” and “a russet lock in an envelope.” Here Echnida meets the Spider, “making things transparent,” and here [is] bodily frailty and erotic love. Here, readers, are some highlights of the Antipodes, two—no, far more than two—poetic traditions, made available for you. Investigate. Drink deep.

    —Stephanie Burt, Professor of English at Harvard University'  (Publication summary)

         Australia : FarFlung Editions , 2022     pg. 46-47
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Works about this Work

Forms of Life for Meaghan Morris Pamela Brown , 2018 single work criticism
— Appears in: Cultural Studies Review , March vol. 24 no. 1 2018; (p. 26–30)

'Meaghan once remarked (I think to the poet and art critic Ken Bolton) that she didn’t like poetry because of all the empty space on the page. A quarter of a century ago in 1992, in Ecstasy and Economics: American Essays for John Forbes, she said she was ‘a desultory reader of poetry’ and that reading poetry might induce a ‘scary cultural estrangement’.  In the foreword, she extrapolates the ‘awkward’ place of poetry in cultural studies then as being more an American problem than an Australian one but nearly a quarter of a century later I wonder if poetry has made an individuated local spot for itself, or even if it cares to. I mean, ‘should poetry worry?’' (Introduction)
Forms of Life for Meaghan Morris Pamela Brown , 2018 single work criticism
— Appears in: Cultural Studies Review , March vol. 24 no. 1 2018; (p. 26–30)

'Meaghan once remarked (I think to the poet and art critic Ken Bolton) that she didn’t like poetry because of all the empty space on the page. A quarter of a century ago in 1992, in Ecstasy and Economics: American Essays for John Forbes, she said she was ‘a desultory reader of poetry’ and that reading poetry might induce a ‘scary cultural estrangement’.  In the foreword, she extrapolates the ‘awkward’ place of poetry in cultural studies then as being more an American problem than an Australian one but nearly a quarter of a century later I wonder if poetry has made an individuated local spot for itself, or even if it cares to. I mean, ‘should poetry worry?’' (Introduction)
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Last amended 19 Dec 2023 07:08:18
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