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'Pitt Street Poetry is proud to welcome Mark Tredinnick to our imprint with his second poetry collection Bluewren Cantos, launched in Sydney on Friday 20th December 2013.
'A big book physically – 154 pages – designed in a square format to accommodate the poet’s distinctive use of line length. And a big book poetically, a survey of his work over the past five years, clustered around two ideas: nature near at hand, and the daily music of things.'
Notes
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Epigraph: I...am small, like the Wren... – Emily Dickinson
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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To Sing, to Say : A Lyric Ethics for Coming into Country
2023
single work
essay
— Appears in: Griffith Review , no. 80 2023; (p. 172-181)'I AM A poet and an essayist, a teacher of writing and a father of five children, who visit like rare birds these days, and I live with my partner and two spaniels and a cat along the Wingecarribee River (one of its many much debated spellings) on Gundungurra land, country never ceded, 125 kilometres south-west of what is now mostly called Sydney, which sits on the stolen ground of the Gadigal. I am, as far as I know, a non-Indigenous Australian man, a fifth-generation descendant of Cornish and German immigrants. They settled land that was not theirs to settle, though that’s not what they were told; I live on land to which nothing but love gives me any kind of title, and I own none of it. Who can afford to own it anyway these days, even if one felt one had the right?' (Introduction)
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A Portrait of the Artist as Place : Joe Dolce Reviews ‘Bluewren Cantos’ by Mark Tredinnick
2015
single work
review
— Appears in: Rochford Street Review , April - June no. 14 2015;
— Review of Bluewren Cantos 2014 selected work poetry -
Robbie Coburn Reviews Bluewren Cantos by Mark Tredinnick
2014
single work
review
— Appears in: Plumwood Mountain [Online] , August 2014;
— Review of Bluewren Cantos 2014 selected work poetry -
Mark Tredinnick: Bluewren Cantos
2014
single work
review
— Appears in: Australian Poetry Review , vol. 9 no. 2014;
— Review of Bluewren Cantos 2014 selected work poetry -
Review : Bluewren Cantos and Postcards from the End of the World
2014
single work
review
— Appears in: Long Paddock , vol. 74 no. 2 2014;
— Review of Bluewren Cantos 2014 selected work poetry ; Postcards from the End of the World – A Michael Crane Sampler of Poetry and Prose 2013 selected work prose poetry
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Flowing Lines and Hypnotic Melodies : Jean Kent Launches ‘Bluewren Cantos’ by Mark Tredinnick
2014
single work
review
— Appears in: Rochford Street Review , March no. 11 2014;
— Review of Bluewren Cantos 2014 selected work poetry -
Anne Elvey Reviews Bluewren Cantos by Mark Tredinnick
2014
single work
review
— Appears in: Mascara Literary Review , May no. 15 2014;
— Review of Bluewren Cantos 2014 selected work poetry -
Review : Bluewren Cantos and Postcards from the End of the World
2014
single work
review
— Appears in: Long Paddock , vol. 74 no. 2 2014;
— Review of Bluewren Cantos 2014 selected work poetry ; Postcards from the End of the World – A Michael Crane Sampler of Poetry and Prose 2013 selected work prose poetry -
Mark Tredinnick: Bluewren Cantos
2014
single work
review
— Appears in: Australian Poetry Review , vol. 9 no. 2014;
— Review of Bluewren Cantos 2014 selected work poetry -
A Portrait of the Artist as Place : Joe Dolce Reviews ‘Bluewren Cantos’ by Mark Tredinnick
2015
single work
review
— Appears in: Rochford Street Review , April - June no. 14 2015;
— Review of Bluewren Cantos 2014 selected work poetry -
To Sing, to Say : A Lyric Ethics for Coming into Country
2023
single work
essay
— Appears in: Griffith Review , no. 80 2023; (p. 172-181)'I AM A poet and an essayist, a teacher of writing and a father of five children, who visit like rare birds these days, and I live with my partner and two spaniels and a cat along the Wingecarribee River (one of its many much debated spellings) on Gundungurra land, country never ceded, 125 kilometres south-west of what is now mostly called Sydney, which sits on the stolen ground of the Gadigal. I am, as far as I know, a non-Indigenous Australian man, a fifth-generation descendant of Cornish and German immigrants. They settled land that was not theirs to settle, though that’s not what they were told; I live on land to which nothing but love gives me any kind of title, and I own none of it. Who can afford to own it anyway these days, even if one felt one had the right?' (Introduction)
