AustLit

'Heide is an epic poem about history, painting, painters, patrons and the people who made art happen in Australia — from Louis Buvelot to Edith Rowan, Tom Roberts and Robert Streeton to Vassilief, Nolan, Tucker, Joy Hester, the Boyds, Mirka Mora, and Albert Namatjira, with a particular focus on the artists gathered around Sunday and John Reed at Heide in Melbourne.

'It is a poem that explores the influence of art and poetry on the psyche, and the influence of social class on both, from the upper echelons and industrialists of Melbourne, to the struggle of the working class through such artists as Alisa O’Connor, Noel Counihan and Yosl Bergner. It begins with the foundation of Melbourne, and in its epic scope traverses an encyclopaedic range of subjects, assembled from facts, quotations, proverbs, definitions, historical documents, newspaper accounts and the author’s own reminiscences. 

'Heide is about the poets and artists who put their lives on the line, the Australian preoccupation with landscape, the dominance of a masculinist aesthetic, the sidelining and denigration of Indigenous art, the struggle of women artists to assert their influence and presence, and the impact of migration on Australian culture. 

'It is a long poem made up of almost 300 poems, each bringing to life characters and incidents that are fleshed out in vivid detail and with a dramatic intensity unique in Australian poetry.'

Source: Publisher's blurb.

'The unofficial poet laureate of Australia Les Murray died in April 2019. I first met him at the Adelaide Arts Festival in the early 70s where i asked Ted Hughes did he kill Sylvia Plath, cos i couldn’t see how come he was in Australia out on bail. After a few other confrontations, i found myself alongside Les Murray, and he said that before i left poetry i’d make a big splash — and i remember turning to him and thinking he better not jump in the pool or there won’t be any water left. He may have been a good poet ‘with a genius for language’ as John Kinsella said but he had ‘some terrible politics’. Elsewhere i’ve talked about Les’s supposed decadency from the great James Murray the lexicographer who gave us the dictionary ‘proper’ — more foundation stories? — and my reaction to his appropriating and usurping the ‘ethnic’ debate by taking centre-stage with a book entitled Ethnic Radio. This ‘self-styled bard of the people’ even claimed be a descendant of Aboriginal stock — he seemed to be everything — a great publicist being No 1.'  (Introduction)