y separately published work icon Collected Poems 1936-1970 selected work   poetry  
  • Author:agent James McAuley http://www.poetrylibrary.edu.au/poets/mcauley-james
Issue Details: First known date: 1971... 1971 Collected Poems 1936-1970
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Contents

* Contents derived from the Sydney, New South Wales,:Angus and Robertson , 1971 version. Please note that other versions/publications may contain different contents. See the Publication Details.
When Shall the Fairi"When shall the fair", James McAuley , single work poetry (p. 3)
Monologuei"To speak of love. A tear", James McAuley , single work poetry (p. 3-4)
She Like the Moon Arisesi"She like the moon arises", James McAuley , single work poetry (p. 4)
"Lord, it is time. The fruitful summer yields;" Autumni"Heart, it is time. The fruitful summer yields;", Rainer Maria Rilke , James McAuley (translator), single work poetry (p. 5)
At Bungendorei"Now the white-buskined lamb", James McAuley , single work poetry (p. 5)
"There the blue-green gums are a fringe of remote disorder" Envoi for a Book of Poemsi"There the blue-green gums have a wild precision, a strict disorder,", James McAuley , single work poetry (p. 6)
Gnostic Preludei"The light was out; the sky was down;", James McAuley , single work poetry (p. 6-7)
The Blue Horsesi"What loud wave-motioned hooves awaken", James McAuley , single work poetry (p. 7-9)
Dialoguei"There was a pattering in the rafters, mother,", James McAuley , single work poetry (p. 10)
The Family of Love : I : Proemi"The world's the thing; Mercator its false prophet;", James McAuley , single work poetry (p. 10-11)
The Family of Love : II : Song of Shemi"When our beasts low in their stalls", James McAuley , single work poetry (p. 11)
The Family of Love : III : Plumbi"Nietzsche respected the great god Plumb", James McAuley , single work poetry satire (p. 11-12)
The Family of Love : IV : the Tramguard's Songi""Love that can on absence feed", James McAuley , single work poetry (p. 12)
The Family of Love : V : the Voices in the Roomi"Shem: The moon steps clear from the cloud that rained,", James McAuley , single work poetry (p. 13)
The Family of Love : VI : the Family Reunioni"I woke to find the tramguard looking grim,", James McAuley , single work poetry (p. 13-14)
Evening Choralei"Another office now the loud-voiced choir", James McAuley , single work poetry (p. 14)
Landscape of Lusti"Lust has its own country still", James McAuley , single work poetry (p. 15)
Sleepi"The rose that leans its chin", James McAuley , single work poetry (p. 15-16)
Terra Australisi"Voyage within you, on the fabled ocean,", James McAuley , single work poetry (p. 16)
Latonai"A shapely amphora I dreamed:", James McAuley , single work poetry (p. 17)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Notes:
Contents and page numbers the same in all three editions.

Other Formats

Works about this Work

Translating Trakl : James McAuley’s Encounter with the Cultural Other Jean Page , 2021 single work criticism
— Appears in: Coolabah , no. 30 2021;

'Translation theorist Laurence Venuti has written how a translator, in “a Romantic transcendence” can lose “his national self through a strong identification with a cultural other.” TS Reader, 20) Australian twentieth-century poet James McAuley’s reading and translation of the early twentieth-century Austrian poet Georg Trakl presents a significant literary encounter. Cosmopolitan by nature, McAuley, as a young poet, had been drawn to, and translated, the German language lyric poet Rainer Maria Rilke (1875-1926). Few of McAuley’s translations of Trakl are included in his Collected Poems(1971 and 1994); they appear in a separate posthumous collection (1982) and in his essay “The Poetry of Georg Trakl” (1975). This article offers a literary appreciation of McAuley’s translations and his commentary on Trakl’s imagery, prosody, symbolism and world view which McAuley described, borrowing Baudelaire’s term, as “a landscape of the soul.” It considers the hypothesis of translation as travel. Drawing on Harold Bloom’s theory of influence it examines McAuley’s encounter with Trakl in his late work, translations and poetic dedication (“Trakl: Salzburg,” 1976) written after visiting Salzburg in 1973. A comparatist approach traces Trakl’s influence, the discovery of affinities or parallel paths with the earlier poet who might be considered, in Bloomian terms, to be McAuley’s “gnostic double.” ' (Publication abstract)    

"By No Stretch . . .a Locus Amoenus"— Traces of Dirt in the Early Poetry of James McAuley Jean Page , 2020 single work criticism
— Appears in: JASAL , vol. 20 no. 1 2020;

'Western mythology traditionally offered sparse, negative readings of things related to earth, as a prison-like entity guarded by the god Hades (Cirlot, Grillet). This paper traces motifs of dirt and soil in several early poems by James McAuley (1917-76). “Envoi” (1938), an inland landscape from McAuley’s stay in Bungendore, rural NSW, attributes to the “soil, the season and the shifting airs” the “faint sterility that disheartens and derides.” Similarly, “The Tomb of Heracles” (1947-49) reiterates motifs of aridity and sterility in imagery of dry landscape: “Blind light, dry rock, a tree that does not bear.” Nonetheless, a differentiation occurs in “Envoi,” in introducing the motif of suppressed fertility and “good chance” in the “artesian heart,” in which earth is reluctantly recognised as the eventual, vital water bearer.

'This paper traces the important formative influence of T.S. Eliot, notably “The Waste Land” and Australia’s own agency of modernism the Jindyworobak movement, with its original environmental manifesto (1937) and celebration of Australia’s dry interiors and indigenous values. It traces other, desolate encounters with earth in McAuley’s war-time reading of early Portuguese chronicles of voyage reflected in his explorer poem “Henry the Navigator” (1944)— “These roots of stunted bushes scrabble earth/Like withered birds […].” The poem adverts to later European “discovery” of Australia’s reportedly arid coasts. 

'The paper also identifies the return to a more accepting reading of motifs of dry earth-scapes “Harsh, dry, abrasive, spikey, rough” in  McAuley’s later poems depicting the Coles Bay nature reserve in eastern Tasmania: “By no stretch [..] a locus amoenus” (Bush Scene”, 1974).'  (Publication abstract)

You are out of Time Adrian Mitchell , 2010 single work criticism
— Appears in: Change - Conflict and Convergence : Austral-Asian Scenarios 2010; (p. 166-175)
James McAuley (1917-1976) Margaret Giordano , Don Norman , 1984 single work biography
— Appears in: Tasmanian Literary Landmarks 1984; (p. 191-197)
Letters from a Young Poet Dorothy Green , 1977 single work criticism
— Appears in: Quadrant , March vol. 21 no. 3 1977; (p. 18-21)
Recent Australian Poetry Ronald T. Dunlop , 1971 single work review
— Appears in: Poetry Australia , no. 40 1971; (p. 52-56)

— Review of Collected Poems 1936-1970 James McAuley , 1971 selected work poetry ; Judith Wright : Collected Poems, 1942-1970 Judith Wright , 1971 selected work poetry ; The Cool Change Andrew Taylor , 1971 selected work poetry ; Single Eye Philip Roberts , 1971 selected work poetry ; The Deer Under the Skin J. S. Harry , 1971 selected work poetry ; The Question Geoff Page , 1971 selected work poetry ; Altjeringa and Other Aboriginal Poems Roland Robinson , 1970 selected work poetry ; Op 8 : Poems 1961-69 J. S. Manifold , 1971 selected work poetry
Untitled Maurice Dunlevy , 1971 single work review
— Appears in: The Canberra Times , 22 May 1971; (p. 15)

— Review of Collected Poems 1936-1970 James McAuley , 1971 selected work poetry
Untitled Carl Harrison-Ford , 1971 single work review
— Appears in: Sunday Australian , 16 May 1971; (p. 31)

— Review of Collected Poems 1936-1970 James McAuley , 1971 selected work poetry
Untitled Eric Irvin , 1971 single work review
— Appears in: The Sydney Morning Herald , 15 may 1971; (p. 23)

— Review of Collected Poems 1936-1970 James McAuley , 1971 selected work poetry
Untitled P. Joseph , 1971 single work review
— Appears in: New Poetry , vol. 19 no. 3 1971; (p. 39-42)

— Review of Collected Poems 1936-1970 James McAuley , 1971 selected work poetry
You are out of Time Adrian Mitchell , 2010 single work criticism
— Appears in: Change - Conflict and Convergence : Austral-Asian Scenarios 2010; (p. 166-175)
James McAuley (1917-1976) Margaret Giordano , Don Norman , 1984 single work biography
— Appears in: Tasmanian Literary Landmarks 1984; (p. 191-197)
Letters from a Young Poet Dorothy Green , 1977 single work criticism
— Appears in: Quadrant , March vol. 21 no. 3 1977; (p. 18-21)
The Wounded Hero : James McAuley's Collected Poems, 1936-1970 R. F. Brissenden , 1972 single work criticism
— Appears in: Southerly , December vol. 32 no. 4 1972; (p. 267-278)
"By No Stretch . . .a Locus Amoenus"— Traces of Dirt in the Early Poetry of James McAuley Jean Page , 2020 single work criticism
— Appears in: JASAL , vol. 20 no. 1 2020;

'Western mythology traditionally offered sparse, negative readings of things related to earth, as a prison-like entity guarded by the god Hades (Cirlot, Grillet). This paper traces motifs of dirt and soil in several early poems by James McAuley (1917-76). “Envoi” (1938), an inland landscape from McAuley’s stay in Bungendore, rural NSW, attributes to the “soil, the season and the shifting airs” the “faint sterility that disheartens and derides.” Similarly, “The Tomb of Heracles” (1947-49) reiterates motifs of aridity and sterility in imagery of dry landscape: “Blind light, dry rock, a tree that does not bear.” Nonetheless, a differentiation occurs in “Envoi,” in introducing the motif of suppressed fertility and “good chance” in the “artesian heart,” in which earth is reluctantly recognised as the eventual, vital water bearer.

'This paper traces the important formative influence of T.S. Eliot, notably “The Waste Land” and Australia’s own agency of modernism the Jindyworobak movement, with its original environmental manifesto (1937) and celebration of Australia’s dry interiors and indigenous values. It traces other, desolate encounters with earth in McAuley’s war-time reading of early Portuguese chronicles of voyage reflected in his explorer poem “Henry the Navigator” (1944)— “These roots of stunted bushes scrabble earth/Like withered birds […].” The poem adverts to later European “discovery” of Australia’s reportedly arid coasts. 

'The paper also identifies the return to a more accepting reading of motifs of dry earth-scapes “Harsh, dry, abrasive, spikey, rough” in  McAuley’s later poems depicting the Coles Bay nature reserve in eastern Tasmania: “By no stretch [..] a locus amoenus” (Bush Scene”, 1974).'  (Publication abstract)

Last amended 21 Nov 2006 10:50:47
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