Cirrus@Austlit

'This chapter discusses the importance of periodicals in the development of Australian poetry. It discusses the centrality of the Bulletin to an emergent nationalist tradition, before considering the Vitalist movement through Vision and the encouragement of modernism in Stream and Angry Penguins. It argues that the academic journal Southerly reinforced an early canon of Australian poetry in the 1940s while the establishment of Overland and Quadrant represented differing political poles in the 1950s. It maps a growing sense of regional diversity through magazines like Westerly, Island, and LINQ, which would supplement Meanjin’s early focus. The chapter then outlines the support of a new generation of writers in the 1970s through Poetry Magazine, later New Poetry, and Poetry Australia. While arguing for Scripsi’s crucial role in the 1980s, the chapter points to the emergence of specialist little magazines around work, multiculturalism, and feminism. The chapter discusses how this diversity would be strengthened in the 1990s, while the emergence of online journals like Jacket and Cordite Poetry Review provided renewed vibrancy and global recognition for Australian poetry.'

Source: Abstract.

'The final poem of this superb collection, ‘The Darkness’, identifies a primal scene. The young protagonist is a nascent poet, watching over the embers of a desert fire in early morning, awaiting the breath of a Pentecostal wind to rekindle the flames. It is a parable which emblematises the difficult task of transformation that is central to poetry itself: the boy contends with ‘fragments / that will not alchemise to song / that yield not / to the metaphrast’.' (Introduction)

'A quarter of a century has passed since Ivor Indyk contributed a scathing review of John Kinsella’s first collected poems to the pages of ABR (July 1997), and the contending responses to that opinion have typified the reception of his poetry among the vituperative local poetry community ever since. This extravagant representation of his work – two volumes of close to a thousand pages each, with a third volume pending – might seem almost deliberately designed to expose the author to similar criticism. Rather than a conventionally shaped collected edition, this is more like a throwing open of filing cabinets, and the nearly 1,700 pages presented so far are certainly not all masterpieces.' (Introduction)

(Production summary)

'All poetry, not just Australian poetry, is always in need of products that supply art, intellect and satiric bite. This is why Grand Parade Poets is very pleased to announce the publication of Whirlwind Duststorm, a new volume of poetry by John Hawke, which certainly possesses all three.

'Consciousness is like the experience of the poem – of being in perpetual motion, constantly distracted by the images before us. Embroiled in this storm, we are travelling, pummelled, unable to find firm footing, and yet shaped and honed by different influences, some of which are merely peripheral, and many of which emerge from class. Identity, personal history and narrative are called into question, leaving us with the poem as the only permanence.

'“Whirlwind Duststorm points at an answer to Hölderlin’s question about the purpose of poets in destitute times.” – Liam Ferney' (Publication summary)

'There has as yet been no comprehensive critical study of the poets associated with the ‘Generation of ’68’, of whom Martin Johnston was perhaps the most naturally gifted and certainly the most intellectually expansive representative. This is because the project of these poets, to fully incorporate the stylistic innovations of modernist poetics and its development in postwar American models within local practice, is still ongoing. If we examine only those poets gathered in the 1979 New Australian Poetry anthology – in which Johnston’s lengthy experiment in parataxis, ‘The Blood Aquarium’, appears as a signature work – we find major authors even today in the process of developing their practice.' (Introduction)

'The recent death of Les Murray can be likened in its significance to the passing of Victor Hugo, after which, as Stéphane Mallarmé famously wrote, poetry ‘could fly off, freely scattering its numberless and irreducible elements’. Murray’s subsumption of the Australian nationalist tradition in poetry, including The Bulletin schools of both the 1890s (A.G. Stephens) and 1940s (Douglas Stewart), has delineated an influential pathway in our literature for more than fifty years. Yet the death in 2017 of the American poet John Ashbery might be viewed as equivalent in its effect, given the impact of his work on several generations of local poets, which has in many respects constituted a counter-stream to Murray’s often narrowly defined nationalism. Ashbery’s voice has been infectiously dominant in English-language poetries over several decades, in a manner similar to T.S. Eliot’s impression on poets of the earlier twentieth century. Critic Susan Schultz, the publisher of this volume, has charted the dynamics of its transcultural influence in her aptly titled collection, The Tribe of John (1995).'(Introduction)

'Perhaps the most encouraging sign in this Puncher & Wattmann collection of critical essays on contemporary Australian poets is the prominent ‘1’ on its front cover, promising that this will be the first in a series. Given that last year’s Contemporary Australian Poetry anthology by the same publisher featured more than two hundred poets, only fourteen of whom are featured for discussion here, this suggests the possibility of a sizeable number of subsequent volumes. The value of such a project cannot be understated: as the editors note in their introduction, the contemporary Australian poetry scene is a particularly vital area of our literature, and the task of ‘grappling with [its] bewildering diversity’ is insufficiently addressed by our current review culture, as well as in academic publications and research funding. It is also noticeably neglected in ‘literary’ forums such as writers’ festivals.'  (Introduction)

'Martin Johnston's late poem,"In the Refectory of the Ognissanti", is considered in particular relation to Yves Bonnefoy's conception of perspective in The Arriere-pays (2012) and related essays, and in the light of Modernist re-evaluations of perspective in non-Euclidean geometry. The elegaic concerns of the work are foregrounded in relation to Christopher Pollnitz's characterisation of Johnston as a "new Mannerist" poet, with the poem distinguished from apparently similar postmodern poems in this style, such as those of John Ashbery.' (Publication abstract)