Latest Issues
Includes
-
The Onset
i
"Back in the kingdom of rain. Paths and roads",
2002
single work
poetry
— Appears in: Unfamiliar Tides : The Newcastle Poetry Prize 2001/2002 2002; The Canberra Times , 31 May 2003; (p. 7a) -
Cloud Life
i
"Last evening, nebulous eaves and spires",
2002
single work
poetry
— Appears in: Unfamiliar Tides : The Newcastle Poetry Prize 2001/2002 2002; The Canberra Times , 13 December 2003; (p. 6a) -
Indian Summer
i
"A time to be still, let wonder hold sway.",
2002
single work
poetry
— Appears in: Unfamiliar Tides : The Newcastle Poetry Prize 2001/2002 2002; Southerly , vol. 63 no. 2 2003; (p. 117) -
After the Rain
i
"Outside the door, I step into winter's",
2002
single work
poetry
— Appears in: Unfamiliar Tides : The Newcastle Poetry Prize 2001/2002 2002; Southerly , vol. 64 no. 1 2004; (p. 20) -
Upstream
i
"Light chevrons flat water; a shirtless",
2002
single work
poetry
— Appears in: Unfamiliar Tides : The Newcastle Poetry Prize 2001/2002 2002; Sea Wall and River Light 2006; -
On the Pier
i
"On the bronze swirl, a floating silhouette",
2002
single work
poetry
— Appears in: Unfamiliar Tides : The Newcastle Poetry Prize 2001/2002 2002; -
Sabrina
i
"We call her 'the white cloud'. She can be seen",
2002
single work
poetry
— Appears in: Unfamiliar Tides : The Newcastle Poetry Prize 2001/2002 2002; The Weekend Australian , 30-31 July 2005; (p. 14) -
Walking the Dog
i
"Near the gate I break threads of daylight",
2002
single work
poetry
— Appears in: Unfamiliar Tides : The Newcastle Poetry Prize 2001/2002 2002;
Publication Details of Only Known VersionEarliest 2 Known Versions of
Related Works
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y
A House By the River
Glebe
:
Puncher and Wattmann
,
2016
13522229
2016
selected work
poetry
'A House by the River journeys through the six years Diane Fahey lived with her mother, Patricia, as her carer, and ends at a point five years after her death. Both the challenges and radiant moments of the relationship of mother and daughter are given enduring form in poems that hold the tension between hope and truth, charting a gradual grief - then loss, and its aftermath. The same life-tide that swept us apart has brought us to this grateful, elegaic love, the hub we turn on - Demeter and Kore becoming each other, held in a graced affinity between loss and loss. Twilight summer. -'Breath' A House by the River is also, in part, a record of the poet's creative life, sustained by the worlds of art and of nature. Along with the garden surrounding her mother's house, Fahey celebrates the wider natural environment of Barwon Heads, opening out - as in Sea Wall and River Light - large perspectives of river, sea and sky, with the presence of birds an unfailing inspiration. But the central power of the book lies in its engagement with the mysteries of healing and spiritual resilience, as Fahey witnesses to the courage and grace of her mother's last years, so leaving a memorable portrait of her. What would I need to know, to wear sunlight as richly, sparsely, as you do now: your face tilted to receive the wind's balm; that look of earthed serenity; body poised as a cormorant's, wings outstretched.' (Publication summary)
Works about this Work
-
[Review Essay] Australian Poetry
2017
single work
essay
— Appears in: The Weekend Australian , 7 January 2017; (p. 16) 'Local in scale, domestic in setting, Diane Fahey’s A House by the River (Puncher & Wattmann, 93pp, $25) is nonetheless epic and monumental in its almost geological study of grief: prospective, overwhelmingly present and fading into what becomes normal life. The book covers a period of 11 years or so: six spent as carer for her mother in the family home at Barwon Heads, Victoria, and the five after her mother’s death, grieving, surviving, reconciling.' (Introduction) -
'Fragments' by Antigone Kefala and 'A House by the River' by Diane Fahey
2017
single work
essay
— Appears in: Australian Book Review , June-July no. 392 2017; 'Antigone Kefala’s Fragments, her fifth book of poems and first since Absence: New and selected poems (1992), is often menaced by the past, like her first collection, The Alien (1973). Here too are some subtly demolishing portraits, as well as buoyant poems such as ‘Metro Cellist’ and the slightly brooding ‘Summer at Derveni’: ‘Afternoon heat / empty of voices / on the foil surface / heads drifting / like heavy ornaments.’ While early work transmuted the impact of her migrations from Romania to Greece to New Zealand to Australia into a pervasive sense of loss, these new poems allude to, rather than relate, such journeys that pass through languages and decades: ‘When they came back / their eyes were scorched / their hands like open wounds / the road, they said, / nothing but fire / no coolness / as they were promised / in the fables’ (‘Pilgrims’ Tales’).' (Introduction)
-
'Fragments' by Antigone Kefala and 'A House by the River' by Diane Fahey
2017
single work
essay
— Appears in: Australian Book Review , June-July no. 392 2017; 'Antigone Kefala’s Fragments, her fifth book of poems and first since Absence: New and selected poems (1992), is often menaced by the past, like her first collection, The Alien (1973). Here too are some subtly demolishing portraits, as well as buoyant poems such as ‘Metro Cellist’ and the slightly brooding ‘Summer at Derveni’: ‘Afternoon heat / empty of voices / on the foil surface / heads drifting / like heavy ornaments.’ While early work transmuted the impact of her migrations from Romania to Greece to New Zealand to Australia into a pervasive sense of loss, these new poems allude to, rather than relate, such journeys that pass through languages and decades: ‘When they came back / their eyes were scorched / their hands like open wounds / the road, they said, / nothing but fire / no coolness / as they were promised / in the fables’ (‘Pilgrims’ Tales’).' (Introduction) -
[Review Essay] Australian Poetry
2017
single work
essay
— Appears in: The Weekend Australian , 7 January 2017; (p. 16) 'Local in scale, domestic in setting, Diane Fahey’s A House by the River (Puncher & Wattmann, 93pp, $25) is nonetheless epic and monumental in its almost geological study of grief: prospective, overwhelmingly present and fading into what becomes normal life. The book covers a period of 11 years or so: six spent as carer for her mother in the family home at Barwon Heads, Victoria, and the five after her mother’s death, grieving, surviving, reconciling.' (Introduction)
