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Notes
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Epigraph: Artworld. Theoryworld. Infoworld. Touristworld. Olympicworld. Foxworld. Bushworld:Oneworld. (Art in the Age of Technological Surveillance, Susan Buck-Morss)
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A poem in eight sections.
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Aspects of Australian Poetry in 2012
2013
single work
review
— Appears in: Westerly , June vol. 58 no. 1 2013; (p. 68-91)'T he act of reading for appraisal rather than pleasure is a privilege that brings me to a deepened understanding of the contemporary in Australian poetry, the way the past is being framed, its traditions, celebrities and enigmas washed up in new and hybrid appearances or redressed in more conventional, sometimes nimbus forms. Judith Wright wrote that the ‘place to find clues is not in the present, it lies in the past: a shallow past, as all immigrants to Australia know, and all of us are immigrants.’ The discipline of reading to filter such a range of voices underlines my foreignness, making reading akin to translation, whilst reciprocally inviting the reader of this essay to become a foreigner to my assumptions and conclusions.' (Introduction)
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The Miniature Level of Perception
2012-2013
single work
review
— Appears in: Rochford Street Review , November - February no. 6 2012-2013;
— Review of Anyworld 2004 single work poetry
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The Miniature Level of Perception
2012-2013
single work
review
— Appears in: Rochford Street Review , November - February no. 6 2012-2013;
— Review of Anyworld 2004 single work poetry -
Aspects of Australian Poetry in 2012
2013
single work
review
— Appears in: Westerly , June vol. 58 no. 1 2013; (p. 68-91)'T he act of reading for appraisal rather than pleasure is a privilege that brings me to a deepened understanding of the contemporary in Australian poetry, the way the past is being framed, its traditions, celebrities and enigmas washed up in new and hybrid appearances or redressed in more conventional, sometimes nimbus forms. Judith Wright wrote that the ‘place to find clues is not in the present, it lies in the past: a shallow past, as all immigrants to Australia know, and all of us are immigrants.’ The discipline of reading to filter such a range of voices underlines my foreignness, making reading akin to translation, whilst reciprocally inviting the reader of this essay to become a foreigner to my assumptions and conclusions.' (Introduction)
