Graphology (prototype) sequence   poetry  
  • Author:agent John Kinsella http://www.poetrylibrary.edu.au/poets/kinsella-john
Issue Details: First known date: 2004... 2004 Graphology (prototype)
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Includes

Graphology : Canto 2 i "In the crypto signal corps", John Kinsella , 1996 single work poetry
— Appears in: Salt , vol. 9 no. 1996; (p. 64-66) Doppler Effect 2004; (p. 276-278)
Graphology : Canto 3 i "altruistically", John Kinsella , 1996 single work poetry
— Appears in: Salt , vol. 9 no. 1996; (p. 67-70) Doppler Effect 2004; (p. 279-282)
Graphology : Canto 5 i "she hand-wrote poems", John Kinsella , 1997 single work poetry
— Appears in: Picador New Writing 4 1997; (p. 244-247) Doppler Effect 2004; (p. 285-287)
Graphology : Canto 7 i "What use if we can't", John Kinsella , 1997 single work poetry
— Appears in: Picador New Writing 4 1997; (p. 247-248) Doppler Effect 2004; (p. 290-291)
Graphology: Canto 1 i "handwriting resonates", John Kinsella , 2004 single work poetry
— Appears in: Doppler Effect 2004; (p. 269-275)
Graphology: Canto 4 i "The handwritten auto-", John Kinsella , 2004 single work poetry
— Appears in: Doppler Effect 2004; (p. 283-284)
Graphology: Canto 6 i "The Victorian Cursive", John Kinsella , 2004 single work poetry
— Appears in: Doppler Effect 2004; (p. 288-289)
Graphology: Canto 8 i "eczema and asthma", John Kinsella , 2004 single work poetry
— Appears in: Doppler Effect 2004; (p. 292)
Graphology: Canto 9 i "The furious disgrace;", John Kinsella , 2004 single work poetry
— Appears in: Doppler Effect 2004; (p. 293-294)
Graphology: Canto 10 i "the sky-written greeting", John Kinsella , 2004 single work poetry
— Appears in: Doppler Effect 2004; (p. 295-296)

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Doppler Effect John Kinsella , Cambridge : Salt Publishing , 2004 Z1173148 2004 selected work poetry This new selection of John Kinsella's innovative poetry gathers work from over fifteen years. Including seminal works like Syzygy and Erratum/Frame(d) as well as more fugitive publications like The Radnoti Poems and The Benefaction. Cambridge : Salt Publishing , 2004 pg. 267-296

Works about this Work

On Genre Tom Bristow , 2021 single work criticism
— Appears in: Angelaki , vol. 26 no. 2 2021; (p. 104-112)

'Paradoxically, loss is the only unconditional possession possible in elegy. A deep understanding of this phenomenon is to be found in long prose forms and lyricism of contemporary Australian writers. Turning the history of literature – from the Medieval to the contemporary – into a body of work more relevant to our ecological plight, in Kinsella’s corpus genres are consequences of textual events operating within an organic totality. This totality deconstructs the reference point for elegy: loss as the condition of thought and experience. Sidestepping while matrixially reconfiguring traditional and experimental forms of writing, Kinsella’s engagement with genre exemplifies not only the undoing of the codes that constitute all possible readings of a text; it is an implicit critique of speech acts that tend to “fix” life into static nouns, reflecting our culture’s ideology of appropriation of nature. Within a critical counterpoint to appropriation (namely, possession), Australian writing can be read as both urging readers to remain alert to pastoral precedents yet avoid projecting genre onto texts. To some extent, elegy has been decolonised in Australian pastoral.' (Publication abstract)

On Genre Tom Bristow , 2021 single work criticism
— Appears in: Angelaki , vol. 26 no. 2 2021; (p. 104-112)

'Paradoxically, loss is the only unconditional possession possible in elegy. A deep understanding of this phenomenon is to be found in long prose forms and lyricism of contemporary Australian writers. Turning the history of literature – from the Medieval to the contemporary – into a body of work more relevant to our ecological plight, in Kinsella’s corpus genres are consequences of textual events operating within an organic totality. This totality deconstructs the reference point for elegy: loss as the condition of thought and experience. Sidestepping while matrixially reconfiguring traditional and experimental forms of writing, Kinsella’s engagement with genre exemplifies not only the undoing of the codes that constitute all possible readings of a text; it is an implicit critique of speech acts that tend to “fix” life into static nouns, reflecting our culture’s ideology of appropriation of nature. Within a critical counterpoint to appropriation (namely, possession), Australian writing can be read as both urging readers to remain alert to pastoral precedents yet avoid projecting genre onto texts. To some extent, elegy has been decolonised in Australian pastoral.' (Publication abstract)

Last amended 10 Jul 2006 10:20:22
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