y separately published work icon Applestealers : Is a Collection of the New Poetry in Australia, Including Notes, Statements, Histories on La Mama anthology   poetry  
Issue Details: First known date: 1974... 1974 Applestealers : Is a Collection of the New Poetry in Australia, Including Notes, Statements, Histories on La Mama
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Contents

* Contents derived from the Melbourne, Victoria,:Outback Press , 1974 version. Please note that other versions/publications may contain different contents. See the Publication Details.
The Beginnings - A Note on La Mama, Kris Hemensley , single work criticism (p. 15-19)
Welcome Stranger - By Way of Introduction, Robert Kenny , single work criticism (p. 22-26)
Maurie Speaks About a Secret Australia While in Icelandi"The children's swings in Iceland,", Ken Taylor , single work poetry (p. 35-38)
Note: Author note: 1968
Hockey Girls...i"Hockey girls on art nouveau lawns,", Ken Taylor , single work poetry (p. 39-40)
Maurie in Europei"Maurie likes to get back to Europe", Ken Taylor , single work poetry (p. 41)
Maurie in Americai"'TAKE CARE'", Ken Taylor , single work poetry (p. 42-47)
At Rendezvousi"In the wake of greetings we walk to a park", Robert Harris , single work poetry (p. 49-52)
Tobaccoi"Flavour the days, tobacco.", Robert Harris , single work poetry (p. 53-55)
From a Seat in Joe's Seafoodsi"Here,", Robert Harris , single work poetry (p. 56-58)
Sea Poem for the Navyi"Is not my home the Ocean", Robert Harris , single work poetry (p. 59-60)
Leaving Sconei"It is the last futility", Robert Harris , single work poetry (p. 61)
Sail Planei"As yet wordless", John Jenkins , single work poetry (p. 63-71)
Falli"The first dreams", John Jenkins , single work poetry (p. 72-73)
Untitled (from Slice 4)i"Especially for the bankrupt", John Jenkins , extract poetry (p. 74)
Untitled (from Slice 8)i"Now I just want to say", John Jenkins , extract poetry (p. 75-77)
Girl with Dogi"Sitting on Thames St wharf", Robyn Ravlich , single work poetry (p. 79)
1910: Homage to Marinettii"At night", Robyn Ravlich , single work poetry (p. 80)
Note: Dedication: for Terry Smith
Tricks/Dankoi"I sometimes think how nice it", Robyn Ravlich , single work poetry (p. 81-82)
Poem for Harlow & the Other Womeni"It could have been any", Robyn Ravlich , single work poetry (p. 83-84)
The Rand-McNally Official Map of the Mooni"Now & then, there's a good day", Robyn Ravlich , single work poetry (p. 85-86)
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Publication Details of Only Known VersionEarliest 2 Known Versions of

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Works about this Work

Generation of ’68 and a Culture of Revolution Corey Wakeling , 2024 single work criticism
— Appears in: The Cambridge Companion to Australian Poetry 2024; (p. 134-150)

'This chapter outlines how the 1970s brought radical expression, new explorations of poetic persona, and increasing belief in the poet’s role to advocate for rights and freedoms. It argues that anthologies seeking to capture the zeitgeist failed to do so, sometimes due to using frameworks borrowed from North America that elided local diversity. The chapter asserts that small press culture constituted a provisional, heterogeneous commons that undid traditional definitions of authorship and form, and offered a space to air the previously taboo. It traces the turn to America as well as to popular culture, other media, and documentary. Through an examination of Michael Dransfield’s reception, it demonstrates how umbrella terms delimit complex individual poetics while demonstrating affiliations in Dransfield’s self-examination with contemporaries like Pam Brown, Nigel Roberts, and Vicki Viidkikas. The chapter also considers the impact of the first anthology of women’s poetry, Mother, I’m Rooted. It redresses the elision of its editor, Kate Jennings, from other anthologies and critical framings of the period, as well as the marginalisation of Kevin Gilbert.'

Source: Abstract.
The Myth of the New and Others Michael Sharkey , 2016 single work criticism
— Appears in: The Poetic Eye : Occasional Writings 1982-2012 2016; (p. 118-129) 'It is a curiosity  that Nigel Roberts's poetry has not attracted critical commentary to the degree accorded to many of his Australian contemporaries who came to prominence as members of the 'Generation of '68'. In a way. he could be thankful that this is so.' (Introduction)  
Pam Brown’s Sydney Poetry in the 70s : In Conversation with Corey Wakeling Corey Wakeling (interviewer), 2012 single work interview
— Appears in: Cordite Poetry Review , 1 May vol. 38 no. 0 2012; 'Pam Brown is not only one of Australia's most prolific and important poets writing today, but also one of our richest archives on the history of late twentieth century Australian poetry. Since this is Cordite's Sydney issue, I thought an interview with her might evince a valuably multifarious image of, perhaps, Australia's most speedily shifting poetic landscape. In particular, as a contemporary Australian poetic history of the late twentieth century stems in part from poets closely associated with the city, it only made sense to ask Pam Brown, Sydney avant-garde collaborator, instigator, publisher and poet. Author of 16 books and 10 chapbooks, Brown has lived most of her life in Sydney, and now lives with her partner in the suburb of Alexandria. As well as offer new understandings of a period thoroughly historicised, I hoped Brown's personal recollections of the formative 1970s would illuminate the significance of those small press and handmade initiatives of the past that Astrid Lorange sees as 'non-causal' and 'monadic' in her Jacket2 archival commentary. Naturally, I was not disappointed.' (Author's introduction)
The Graying of the Underground : Australian 'Avant Garde' Poetry in the Sulking Seventies Mark O'Connor , 1979 single work criticism
— Appears in: Overland , no. 74 1979; (p. 5-9)
Against the Epigones Richard Packer , 1975 single work criticism
— Appears in: Quadrant , June vol. 19 no. 3 1975; (p. 67-74)
Untitled Bruce Beaver , 1975 single work review
— Appears in: The Sydney Morning Herald , 1 February 1975; (p. 15)
— Review of In an Australian Country Graveyard and Other Poems Hal Porter , 1974 selected work poetry ; Applestealers : Is a Collection of the New Poetry in Australia, Including Notes, Statements, Histories on La Mama 1974 anthology poetry
What the New Novels Are Really Like 1974 single work review
— Appears in: The Bulletin , 28 September vol. 96 no. 4925 1974; (p. 46-47)
— Review of Crying in the Garden Suzanne Holly Jones , 1974 single work novel ; The Beginning of Everything and the End of Everything Else Christine Townend , 1974 single work novel ; The Fat Man in History : Short Stories Peter Carey , 1974 selected work short story ; Applestealers : Is a Collection of the New Poetry in Australia, Including Notes, Statements, Histories on La Mama 1974 anthology poetry ; The Tidal Forest Geoff Wyatt , 1974 single work novel ; The Pure Land David Foster , 1974 single work novel ; Living Together Michael Wilding , 1974 single work novel
Untitled Jim Tulip , 1975 single work review
— Appears in: The Age , 4 January 1975; (p. 13)
— Review of The First Paperback Poets Anthology 1974 anthology poetry ; Applestealers : Is a Collection of the New Poetry in Australia, Including Notes, Statements, Histories on La Mama 1974 anthology poetry
Untitled Brian Musgrove , 1975 single work review
— Appears in: Blacksmith , Winter no. 2 1975; (p. 56-57)
— Review of Applestealers : Is a Collection of the New Poetry in Australia, Including Notes, Statements, Histories on La Mama 1974 anthology poetry
Untitled Carl Harrison-Ford , 1974 single work review
— Appears in: The Australian , 30 November 1974; (p. 21)
— Review of Applestealers : Is a Collection of the New Poetry in Australia, Including Notes, Statements, Histories on La Mama 1974 anthology poetry
Pam Brown’s Sydney Poetry in the 70s : In Conversation with Corey Wakeling Corey Wakeling (interviewer), 2012 single work interview
— Appears in: Cordite Poetry Review , 1 May vol. 38 no. 0 2012; 'Pam Brown is not only one of Australia's most prolific and important poets writing today, but also one of our richest archives on the history of late twentieth century Australian poetry. Since this is Cordite's Sydney issue, I thought an interview with her might evince a valuably multifarious image of, perhaps, Australia's most speedily shifting poetic landscape. In particular, as a contemporary Australian poetic history of the late twentieth century stems in part from poets closely associated with the city, it only made sense to ask Pam Brown, Sydney avant-garde collaborator, instigator, publisher and poet. Author of 16 books and 10 chapbooks, Brown has lived most of her life in Sydney, and now lives with her partner in the suburb of Alexandria. As well as offer new understandings of a period thoroughly historicised, I hoped Brown's personal recollections of the formative 1970s would illuminate the significance of those small press and handmade initiatives of the past that Astrid Lorange sees as 'non-causal' and 'monadic' in her Jacket2 archival commentary. Naturally, I was not disappointed.' (Author's introduction)
Against the Epigones Richard Packer , 1975 single work criticism
— Appears in: Quadrant , June vol. 19 no. 3 1975; (p. 67-74)
The Graying of the Underground : Australian 'Avant Garde' Poetry in the Sulking Seventies Mark O'Connor , 1979 single work criticism
— Appears in: Overland , no. 74 1979; (p. 5-9)
The Myth of the New and Others Michael Sharkey , 2016 single work criticism
— Appears in: The Poetic Eye : Occasional Writings 1982-2012 2016; (p. 118-129) 'It is a curiosity  that Nigel Roberts's poetry has not attracted critical commentary to the degree accorded to many of his Australian contemporaries who came to prominence as members of the 'Generation of '68'. In a way. he could be thankful that this is so.' (Introduction)  
Generation of ’68 and a Culture of Revolution Corey Wakeling , 2024 single work criticism
— Appears in: The Cambridge Companion to Australian Poetry 2024; (p. 134-150)

'This chapter outlines how the 1970s brought radical expression, new explorations of poetic persona, and increasing belief in the poet’s role to advocate for rights and freedoms. It argues that anthologies seeking to capture the zeitgeist failed to do so, sometimes due to using frameworks borrowed from North America that elided local diversity. The chapter asserts that small press culture constituted a provisional, heterogeneous commons that undid traditional definitions of authorship and form, and offered a space to air the previously taboo. It traces the turn to America as well as to popular culture, other media, and documentary. Through an examination of Michael Dransfield’s reception, it demonstrates how umbrella terms delimit complex individual poetics while demonstrating affiliations in Dransfield’s self-examination with contemporaries like Pam Brown, Nigel Roberts, and Vicki Viidkikas. The chapter also considers the impact of the first anthology of women’s poetry, Mother, I’m Rooted. It redresses the elision of its editor, Kate Jennings, from other anthologies and critical framings of the period, as well as the marginalisation of Kevin Gilbert.'

Source: Abstract.
VIEW ALL WORKS ABOUT (12)
Last amended 15 Dec 2011 15:38:55
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