Cirrus@Austlit

'It’s such my great privilege to be with you here to launch two such accomplished and substantial poetry collections by two such distinguished WA poets, Marcella Polain and Morgan Yasbincek, in Fremantle/ Walyalup. As I begin, I want to echo our wonderful MC Jan Teagle Kapetas. The culture, history, and connections to the land on which we’re standing go back tens of thousands of years. I’d like to acknowledge that it’s the land of the Whadjuk people of the Noongar nation we’re gathered on, and to pay my respects tonight to elders past, present, and emerging.'  (Introduction)

Lucy Dougan’s new collection draws on and is alive to the mysterious zone that Surrealist artist Paul Nash called the ‘Monster Field’: the place glimpsed from a car at speed which cannot be found again easily, and which opens up a space between the everyday and the occult as it ‘almost slides past your eyes’. Like a monster, ‘elusive and ubiquitous’ a poem is a ‘showing’ of what is both unsettling and familiar.

'In the world of everyday perception, mundane or discarded objects, fleeting scenes and inconsequential places can become unexpectedly charged with momentary significance and rise up as weird extremities in the field of the ordinary. Dougan’s ongoing concerns — the hidden or unperceived, things out of place, the intrusion of wildness into ordered spaces, in art and film, the shifting relationship between past and present — are deepened in this new collection by the disorientations of middle age: in experiences of survival, difficulty, and failure; in the presence and pressure of mystery; and in her conviction of what is sustainable in the making of things and in living'  (Publication summary)

'This bilingual Homings and Departures anthology presents the absorbing and compelling poetry of 41 outstanding Australian poets in both English and Mandarin. The anthology is the result of a collaboration between poets, scholars and translators from the China Australia Writing Centre at Curtin University, Western Australia; the International Poetry Studies group at the University of Canberra; and Fudan University in Shanghai. Edited by Lucy Dougan and Paul Hetherington, it reflects the importance of international literary and cultural connections as a way of extending our conceptions of ‘home’ and ‘elsewhere’.'

Source : publisher's blurb

'In ‘they rise’ Jazz Money, a Wiradjuri poet and filmmaker addresses the future of the stolen lands we call Australia as a proud blak woman (Cordite, February 2021). Her voice rises above inferiority, trauma or shame. The poem is defiant, a wry celebration of the same bodies that colonialism makes ambivalent and abject by enabling its ‘superior’, cis-gendered whiteness:

turns out the future is technicolour blak black brown turns out we’re all welcome here queer brothers and sisters and non-binary siblings if you been here since the first sunrise or if you come here now just now come here heart open come here hurt from those wars and those sea levels rising

How do we turn out poetry that shows we are all welcome here? How do we collectively transpose settler privilege and oppressive hierarchies and why does it matter? What is wrong with a received system of naming, making categories and borders, if our hallowed aesthetics are tone deaf and mute to the sound of blak, brown and hybrid bodies breaking, dying, suffering? Listen to the poems here: we are suffering not merely because our tears matter less, or are less visible in the capitalist settler colony, but also because there are families that have been wartorn, assimilated and broken; there are forests that have been denuded, oceans pillaged and polluted, sacred sites mined, vestiges appropriated and rebranded, and all of this touches us multifariously, yet still, our protest is being silenced.' (Lucy Dougan Michelle Cahill Foreword introduction)

'Homings & Departures is a poetry translation project of the China Australia Writing Centre (CAWC) at Curtin and Fudan Universities, and the International Poetry Studies Institute (IPSI) at the University of Canberra. As worldwide borders close and movements are restricted, the project’s title has gained a pressing new relevance. If bodies cannot travel then words, at least, can. In a spirit of nuanced exchange, CAWC at Curtin and Fudan, along with IPSI, continue their creative collaboration at a time when it is increasingly vital.' (Introduction)