Keri Glastonbury Keri Glastonbury i(A5907 works by) (a.k.a. Kerry Glastonbury)
Born: Established: 1969 ;
Gender: Female
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Works By

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1 Keri Glastonbury Reviews Grace Heyer, Panda Wong, Rory Green and Siân Vate Keri Glastonbury , 2024 single work review
— Appears in: Cordite Poetry Review , 1 February no. 111 2024;
— Review of Thankless Grace Heyer , 2021 selected work poetry ; Angel Wings Dumpster Fire Panda Wong , 2021 selected work poetry ; The Attentions Rory Green , 2021 selected work poetry ; Feels Right Sian Vate , 2021 selected work poetry
1 Me and My Rhythm Box i "red dust creates a henna effect in your silver hair", Keri Glastonbury , 2023 single work poetry
— Appears in: Cordite Poetry Review , 1 September no. 110 2023;
1 City Lights, Newcastle i "in a certain plane tree, like the way students", Keri Glastonbury , 2021 single work poetry
— Appears in: Australian Poetry Journal , vol. 11 no. 1 2021; (p. 18)
1 A Forest: i "Winter came today, into the trees. Caught out, like a", Keri Glastonbury , 2020 single work poetry
— Appears in: The Anthology of Australian Prose Poetry 2020; (p. 83)
1 Sitting on a Cusp That Has Slipped Away : Keri Glastonbury Launches ‘Know Your Country’ by Kerri Shying Keri Glastonbury , 2020 single work essay
— Appears in: Rochford Street Review , November no. 30 2020;

'Know Your Country by Kerri Shying, Puncher & Wattmann, 2020, was launched by Keri Glastonbury at the Lass O’Gowrie Hotel, Newcastle on Saturday 28 November 2020. This is s slightly edited version of that speech.'
1 The Pink Flamingo (of Trespass) i "Is anyone else getting memories that aren’t theirs?", Keri Glastonbury , 2020 single work poetry
— Appears in: The Weekend Australian , 11 July 2020; (p. 18)
1 4 y separately published work icon Newcastle Sonnets Keri Glastonbury , Artarmon : Giramondo Publishing , 2018 13865303 2018 selected work poetry

'Once a working-class heartland, Newcastle is now acclaimed as one of the top 5 hipster cities in the world. In the sequence of sonnets which compose her homage to Newcastle, Glastonbury celebrates the city's oddities and contradictions, remixing the material effects of gentrification with the regional vernacular and punk drama of locally based social media – blogs, Tumblr, Instagram, Facebook and Google Maps. An antipodean, regional queering of Ted Berrigan’s New York-based Sonnets, Glastonbury’s poems make music from what's around, embracing both DIY chutzpah and the swipes, likes, and filtered screens of internet culture. This is Newcastle in cosplay, part eggs benedict, part pebblecrete, where a coal boat named 'Fiction' is always approaching the shore.'

Source: Publisher's blurb.
1 'What If John Forbes Had Been around to Live Tweet During Q & A? : Post Internet Poetry and the Self Keri Glastonbury , 2017 single work criticism
— Appears in: Axon : Creative Explorations , December vol. 7 no. 2 2017;

'This paper argues that recent post-internet poetry has seen a return to a ‘confessional’ self, distributed across various forms of social media. Using my current manuscript-in-progress Newcastle Sonnets as an exemplar, it also considers the relationship between real and virtual places, in this case the city of Newcastle, NSW.' (Publication abstract)
1 Confession Editorial Keri Glastonbury , 2017 single work criticism
— Appears in: Cordite Poetry Review , 1 February no. 57 2017; 'Charles Whalley’s essay on post-internet poetics ‘This has been a blue / green message exiting the social world’ takes its title from a Sam Riviere poem, which makes me imagine ‘blue / green’ text messages bubbling like algae blooms on a mobile phone. If communication and sociality are nothing new to contemporary poetics – a conversational style pervaded many of the poems by Australian poets who have been writing since the 1970s that I cut my teeth on, poets such as Ken Bolton, John Forbes and Pam Brown, themselves influenced by the earlier ‘personism’ of American poets such as Frank O’Hara and Ted Berrigan – it remains in 2016 where so many of our conversations happen online (whether directly messaged or indirectly posted). Digital media has become an intrinsic intercessor not just in the expanded ‘digital literary sphere’ (Simone Murray 2015), but also aesthetically.' (Introduction)
1 Chronotope Highway i "The forgotten allure of conversations inside cars, like fast and furious, but", Keri Glastonbury , 2016 single work poetry
— Appears in: Cordite Poetry Review , no. 53.0 2016;
1 Murmur Keri Glastonbury , 2016 single work poetry
— Appears in: Contemporary Australian Poetry 2016;
1 Unilaterally Headfucky i "You’re my dream andro lover: hard of tricep, soft of belly. I would have eaten out", Keri Glastonbury , 2015 single work poetry
— Appears in: TEXT : Special Issue Website Series , October no. 31 2015;
1 Bonny Bundanon i "Wombats appear like body weather rocks, forces of shakti gathering at dusk", Keri Glastonbury , 2015 single work poetry
— Appears in: TEXT : Special Issue Website Series , October no. 31 2015;
1 Exit Note to Academia i "The parallels are striking: the desacralisation, the shitting in their own nests,", Keri Glastonbury , 2015 single work poetry
— Appears in: TEXT : Special Issue Website Series , October no. 31 2015;
1 Pink Poem i "There's an internet radio station streaming a genome of my favourite music,", Keri Glastonbury , 2014 single work poetry
— Appears in: A Slow Combusting Hymn : Poetry from and About Newcastle and the Hunter Region in Newcastle 2014; (p. 99)
1 What Would I Say? i "dispersing a Smiths song via leaf blower & other 80s cult songs", Keri Glastonbury , 2014 single work poetry
— Appears in: A Slow Combusting Hymn : Poetry from and About Newcastle and the Hunter Region in Newcastle 2014; (p. 98)
1 Lost Wagga Wagga Keri Glastonbury , 2014 single work criticism
— Appears in: JASAL , vol. 14 no. 3 2014; 'This paper draws on Ross Gibson’s 7 Versions of an Australian Badland and braids together a number of narratives converging around Wagga’s Wiradjuri Reserve on the Murrumbidgee River including the murder of a school friend in the late 1980s, Wiradjuri and colonial history and my poetry sequence ‘Triggering Town’. While ficto-critical in style, it also deploys a geo-critical methodology: foregrounding spatial and geographical fields in terms of both narrative and literary inquiry.' (Publication abstract)
1 Goodbye to All That i "Driving over Styx Creek, appropriately laden with heavy metal,", Keri Glastonbury , 2014 single work poetry
— Appears in: Overland , Spring no. 216 2014; (p. 108)
1 Russians i "you have to get drunk to read", Keri Glastonbury , Ted Nielsen , 2014 single work poetry
— Appears in: Cordite Poetry Review , August no. 47.0 2014;
1 Superdemander i "less an age than a phase, more transient,", Ted Nielsen , Keri Glastonbury , 2014 single work poetry
— Appears in: Cordite Poetry Review , August no. 47.0 2014;
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