'Each stanza of Anthony Lawrence's Ken gradually unveils, with a satirical and compassionate eye, a plastic doll's restricted identity. Ken, the occupant of engendered humanity, is observed in a series of adventures, transgressions, and unresolved intimate encounters. Delightfully humorous and intellectually credible with a melancholy edge, Ken is a book for our times.' (Publication summary)
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AbstractHistoryArchive Description
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Imagination and Virtuosity : New Poetry by Anthony Lawrence and Subhash Jaireth
2022
single work
review
— Appears in: Australian Book Review , April no. 441 2022; (p. 42-43)
— Review of Ken 2021 selected work poetry ; Aflame 2021 selected work prose'Australia has a stylish new poetry press. The two books reviewed here by Life Before Man, the poetry wing of Gazebo Books, preference book cover art and poem above all the usual paraphernalia: publishing details, barcodes, author notes – even the epigraph – are tucked into a back page, and there are no apparently distracting contents pages or page numbers. Most of the poems sit neatly on the right side of the page with a private blank beige page buffer. There’s orientation in a contents list, and I trust the poets have a choice about whether they want one. That said, there’s a holiday-like liberation in slipping through unmoored. It’s a subtle reading experience, but do these aesthetic somewhat precious innovations justify the use of extra paper?' (Publication summary)
-
Imagination and Virtuosity : New Poetry by Anthony Lawrence and Subhash Jaireth
2022
single work
review
— Appears in: Australian Book Review , April no. 441 2022; (p. 42-43)
— Review of Ken 2021 selected work poetry ; Aflame 2021 selected work prose'Australia has a stylish new poetry press. The two books reviewed here by Life Before Man, the poetry wing of Gazebo Books, preference book cover art and poem above all the usual paraphernalia: publishing details, barcodes, author notes – even the epigraph – are tucked into a back page, and there are no apparently distracting contents pages or page numbers. Most of the poems sit neatly on the right side of the page with a private blank beige page buffer. There’s orientation in a contents list, and I trust the poets have a choice about whether they want one. That said, there’s a holiday-like liberation in slipping through unmoored. It’s a subtle reading experience, but do these aesthetic somewhat precious innovations justify the use of extra paper?' (Publication summary)
Last amended 14 Dec 2020 07:29:24
