Cirrus@Austlit

'This chapter outlines how Christopher Brennan ushered in an experimental strand of Australian poetry through his engagement with French Symbolism, which was followed by John Shaw Nielson’s celebration of intuition and the more-than-human. It considers Nietzschean vitalism in Kenneth Slessor’s representation of urban Sydney and analyses the beauty and nihilism of his “Five Bells.” The chapter also argues that Lesbia Harford’s poetry was modernist in its radical openness about female sexuality and the female body, its minimalist representation of the working life of modern women, and lack of Romantic assumptions in her treatment of the natural world. It further considers the rhetorical force and frankness of queer desire in the work of Anna Wickham, before addressing the hoax poet Ern Malley.'

Source: Abstract

for Peter Goldsworthy

'By any objective measure – publications, sales, recognition – the literature of First Nations peoples in Australia is undergoing a resurgence. At the forefront in poetry has been Yankunytjatjara poet, Ali Cobby Eckermann. Magabala Books, the Broome-based independent Aboriginal publisher of Eckermann’s latest book She is the Earth, has also played a large part in this revival.' (Introduction)   

'Perhaps more than any Australian poet of the 20th Century, John Tranter, who died last Friday at the age of 79, was guided by a relentless desire to experiment. His earliest admiration was for the French poet Arthur Rimbaud, and he soon discovered John Ashbery, who ultimately became his most important influence.' (Introduction)

'Kate Jennings (1948-2021) turned her hand to virtually every form of writing, from speeches and journalism to poems, novels, short stories and non-fiction. For many, her value is located beyond the literary world, and she is credited with inaugurating second-wave feminism in Australia with her 1970 speech at the Vietnam moratorium rally on the lawns of Sydney University (Moore 2021: np). As a writer, she took a while longer to make a mark. Her first poetry collection, 'Come to Me My Melancholy Baby', is far from her best work, and it was followed by fifteen years of virtual silence, during which time she developed what Erik Jensen (2017) characterises as her ruthless precision. Her only other poetry collection 'Cats, Dogs and Pitchforks' (1993), gave Jennings a national reputation as a poet; 'Snake' (1996) - a marvel of economy - might be the best work of contemporary Australian fiction not to be shortlisted for a national award but her second novel 'Moral Hazard' (2002), won a number of honours, including the Australian Literature Society Gold Medal. In this brief essay, however, I would like to focus, not on these many achievements, but on Jennings's importance as an anthologist.' (Publication abstract)