Latest Issues
Includes
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The Greek Foot
i
"Nature in her wisdom has formed the human feet",
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",
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",
2001-2000
single work
poetry
— Appears in: Flight Animals 2001; (p. 8) -
The Indian Foot
i
"The mehendiwalli sifts the twigs and stems",
2001-2000
single work
poetry
— Appears in: Flight Animals 2001; (p. 9) -
The Aboriginal Foot
i
"One day a Kuniya rock python",
2001-2000
single work
poetry
— Appears in: Flight Animals 2001; (p. 10) -
The American Foot
i
"The anatomical narrative takes",
2001-2000
single work
poetry
— Appears in: Flight Animals 2001; (p. 11)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Negotiating 'Negative Capability' : The Role of Place in Writing for Two Australian Poets
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
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)
Awards
- 2002 winner Somerset National Poetry Prize
