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AbstractHistoryArchive Description
'Poetry. A collection of work by innovative Australian poets whose work shares an interest in "a primary art of transformation in language" (from the introduction). All contributors traveled to the San Francisco Bay Area in April 2016 to participate in a four-day meeting with similarly-committed U.S.-based poets. The title of the event is also that of the anthology, which its editors intend as an extension and prolongation of the April gathering. ACTIVE AESTHETICS brings news across the Pacific and across the equator of Australia's current radical poetry and poetics. As is true of new poetry in the US, much of the work here reflects the complexity and urgency of political thinking within the aesthetic sphere.'
Source: Publisher's blurb.
Notes
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Includes work by the following poets: Pam Brown, A.J. Carruthers, Bonny Cassidy, Stuart Cooke, Ali Cobby Eckermann, Chris Edwards, Kate Fagan, Michael Farrell, Toby Fitch, Elena Gomez, Matthew Hall, Natalie Harkin, Marty Hiatt, Fiona Hile, Jill Jones, Nick Keys, Sam Langer, Kate Lilley, Astrid Lorange, Kent MacCarter, Philip Mead, Peter Minter, Ella O'Keefe, Luke Patterson, Gig Ryan, Amanda Stewart, John Tranter, Ann Vickery, Corey Wakeling, Jessica Wilkinson, R D Wood, and Ouyang Yu.
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Content indexing in process.
Contents
- 'The Whole Reflected World Shuddering' : Active Aesthetics and Contemporary Australian Poetry, single work essay (p. 17-28)
- Valle de Hurtado, single work poetry (p. 45-46)
- An American Family Plays Frisbee a the Beach while on Holiday in Chile, single work poetry (p. 47)
- The Ocean's a Dirty Window, single work poetry (p. 48-49)
- Broome Beach Arti"we sit by the o", single work poetry (p. 50)
- Di"The day is wide", single work poetry (p. 209)
- Hi"Homeless at home", single work poetry (p. 210)
- Oi"Possibly for ophidian", single work poetry (p. 211)
- Pi"Pretzels are steel", single work poetry (p. 212)
- R, single work poetry (p. 213)
- Fricasseei"fractured time", single work poetry
- At 'The-End-of-the-World-as-we-Know-it' Retreati"now the western sky", single work poetry
- Hi Fax, single work poetry
- Axis 46 : Cabinets, single work poetry
- Music, after Michael Dransfield, single work poetry
- Music for Hazel Smith, single work poetry
- Slow Newsi"Memory is a spotlight:", single work poetry
- Spunkiei"Look at the lip on your innards;", single work poetry
- Ex-territorial, single work poetry
- Stump, Trunk and Cani"Your torso parked against a salmon gum.", single work poetry
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Who's Afraid of Poetic Invention? Anthologising Australian Poetry in the Twenty-First Century
2018
single work
criticism
— Appears in: JASAL , vol. 17 no. 2 2018;'There has been a rich history of anthologising Australian poetry this far into the twenty-first century. This article claims that contemporary poetics, with a renewed focus on the recoprocal relation between cultural and linguistic inquiry, can rediscover alternative ways of reading the history of Australian avant-garde, inventive and experimental work. Considering several key anthologies published after the turn of last century, the article provides readings of both the frameworks the anthology-makers provide and the poems themselves, claiming that mark, trace and lexical segmentivities can already be read as social. It then proposes a new possibility for an experimental anthology that might bring these facets into lived praxis: the chrestomathy.' (Publication abstract)
-
Who's Afraid of Poetic Invention? Anthologising Australian Poetry in the Twenty-First Century
2018
single work
criticism
— Appears in: JASAL , vol. 17 no. 2 2018;'There has been a rich history of anthologising Australian poetry this far into the twenty-first century. This article claims that contemporary poetics, with a renewed focus on the recoprocal relation between cultural and linguistic inquiry, can rediscover alternative ways of reading the history of Australian avant-garde, inventive and experimental work. Considering several key anthologies published after the turn of last century, the article provides readings of both the frameworks the anthology-makers provide and the poems themselves, claiming that mark, trace and lexical segmentivities can already be read as social. It then proposes a new possibility for an experimental anthology that might bring these facets into lived praxis: the chrestomathy.' (Publication abstract)