Seven Feet & Where They're From sequence   poetry  
Issue Details: First known date: 2001... 2001 Seven Feet & Where They're From
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Includes

The Greek Foot i "Nature in her wisdom has formed the human feet", Bronwyn Lea , 2001 single work poetry
— Appears in: Flight Animals 2001; (p. 6) The Indigo Book of Modern Australian Sonnets 2003; (p. 105)
The Chinese Foot i "The bandage wraps figure eights", Bronwyn Lea , 2001 single work poetry
— Appears in: Flight Animals 2001; (p. 7) Windchimes : Asia in Australian Poetry 2006; (p. 226) Thirty Australian Poets 2011; (p. 162)
The Portuguese Foot i "Her feet are the same ivory", Bronwyn Lea , 2001-2000 single work poetry
— Appears in: Flight Animals 2001; (p. 8)
The Indian Foot i "The mehendiwalli sifts the twigs and stems", Bronwyn Lea , 2001-2000 single work poetry
— Appears in: Flight Animals 2001; (p. 9)
The Aboriginal Foot i "One day a Kuniya rock python", Bronwyn Lea , 2001-2000 single work poetry
— Appears in: Flight Animals 2001; (p. 10)
The American Foot i "The anatomical narrative takes", Bronwyn Lea , 2001-2000 single work poetry
— Appears in: Flight Animals 2001; (p. 11)

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Flight Animals Bronwyn Lea , St Lucia : University of Queensland Press , 2001 Z902652 2001 selected work poetry St Lucia : University of Queensland Press , 2001 pg. 6-13

Works about this Work

Negotiating 'Negative Capability' : The Role of Place in Writing for Two Australian Poets Lynda Hawryluk , Leni Shilton , 2014 single work criticism
— Appears in: Axon : Creative Explorations , July vol. 4 no. 1 2014; Coolabah , no. 16 2015; (p. 48-73)

'This paper takes its lead from the poet John Keats’ notion of ‘negative capability’ (1891: 48), exploring some of the key methodologies of representing landscapes in writing, specifically using place to effect the process of ‘… being capable of being in uncertainties, Mysteries, doubt, without any irritable reaching after fact and reason …’ (48).

Keats refers to the poet as ‘taking part’ in the life of the poem; and being in the poem. This paper features our own poetry, located in two different landscapes and with its own understanding of place, which captures a sense of connection to rugged and remote terrains. To evoke this sense of connection, Keats’ negative capability comes into play—understood in this paper as a metaphysical space where a meditative state provides the writer with a ‘glimpse’; a recognition of that moment of connection without which ‘poetry cannot happen’ (Oliver 1994: 84)

Our writing, as will be discussed, is individually informed by knowledge about environment and notions of poetic space, where ‘aspects of the unconscious move into consciousness’ (Hetherington 2012: 8). This paper explores the commonalities and distinctions between our work, using brief examples.' (Publication abstract)

Negotiating 'Negative Capability' : The Role of Place in Writing for Two Australian Poets Lynda Hawryluk , Leni Shilton , 2014 single work criticism
— Appears in: Axon : Creative Explorations , July vol. 4 no. 1 2014; Coolabah , no. 16 2015; (p. 48-73)

'This paper takes its lead from the poet John Keats’ notion of ‘negative capability’ (1891: 48), exploring some of the key methodologies of representing landscapes in writing, specifically using place to effect the process of ‘… being capable of being in uncertainties, Mysteries, doubt, without any irritable reaching after fact and reason …’ (48).

Keats refers to the poet as ‘taking part’ in the life of the poem; and being in the poem. This paper features our own poetry, located in two different landscapes and with its own understanding of place, which captures a sense of connection to rugged and remote terrains. To evoke this sense of connection, Keats’ negative capability comes into play—understood in this paper as a metaphysical space where a meditative state provides the writer with a ‘glimpse’; a recognition of that moment of connection without which ‘poetry cannot happen’ (Oliver 1994: 84)

Our writing, as will be discussed, is individually informed by knowledge about environment and notions of poetic space, where ‘aspects of the unconscious move into consciousness’ (Hetherington 2012: 8). This paper explores the commonalities and distinctions between our work, using brief examples.' (Publication abstract)

Last amended 26 Jun 2006 17:31:00
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