'Spirals is the third and final volume of John Kinsella's collected poems and dates from 2014-2023, seeing Kinsella through his fifties and without an end in sight. Spirals is not a case of a poet growing older, steadier, and more sedate but rather brings an ongoing sense of development that is also recursive and spatial. Politically, institutionally, and attitudinally, Kinsella remains an outsider.

'John Kinsella's poetry is collected in one place for the very first time and includes poems that have appeared in chapbooks, publications outside of Australia, and some that are no longer in print. In this final volume, the spiralling effects of time combined with Kinsella's probing and connections in space have brought his poetry an authority and a sense of being listened to not only with awe but with respect. And still, Kinsella renounces any inflated self. Instead of basting in a perversely satisfying white guilt, or retreating to a passive melancholy, Kinsella is active, dynamic, and even exuberant. His poetry is replete with astounding energy that is creative and forward-looking while remaining concerned about environmental damage, exploitations of neoliberalism and militarism, and the continuing illegitimacies of unacknowledged settler occupation. Kinsella's final volume marks the culmination. (Publication summary)

'Once a fêted literary figure, the former lover of B-list movie star Lucida, but now derelict, incontinent, asexual, ageing poet Harold Lime turns his back on material modernity, withdrawing to a basement in the university town of Cambridge, England. But human connections will prove difficult to sever completely, and he is drawn out of himself by a fox hunt saboteur ('the sab woman'), with whom he forms a poignant, uneasy relationship and who acts as his mutual confessor. In the isolation of his basement, Harold Lime obsessively listens to Mahler, whose nine symphonies, unfinished tenth and Earth Songs, each corresponding to a separate chapter of this innovative poetic novel, will reawaken the sensitivities he has tried to erase, taking him back to his Australian childhood and youth, fostering a growing awareness of intertwined body and soul, of commitment and connectedness, of the ecology of rootedness and unrootedness in an unjust world.' (Publication summary)

'Departing from Virgil’s Eclogues, The Pastoraclasm is an urgent environmental address to humans, nature and vegetable gardens. During pandemic lockdowns, poet John Kinsella realised that he would have to garden not because he enjoys it but because his family, who live ‘in the bush, would need whatever he could grow. Fierce summers, fire danger, and only having access to rainwater tank water ― refusing to drain the aquifer further by using one of the two bores at ‘Jam Tree Gully’, reinforced the realisation that gardening needs to be a careful negotiation with the limitations of time, place and conditions of presence.

'What developed was a set of dialogues with the garden, and with the endemic plants and animals that surrounded it. Searching for a decolonising antipastoral ‘eclogue’, the poet continues his decades-long practice of investigating the nature of ‘pastoral’ and its failure to translate into the Australian environment/s.

'Writing to a poet in Wales, Kinsella said: ‘We’re in regional lockdown here, and trying to grow veggies in drought conditions. Lot of silvereyes, thornbills and gerygones out there today – overcast, which is unusual at the moment (still very hot), and that has them vigorous with hope, I guess... but no rain predicted. On emergency water supplies now.’

'In this cycle of eco-eclogues, a counter-pastoral of responsibility emerges – one that acknowledges the toxic impact of colonialism, and which seeks to address human rapacity through challenging consumerism and industrialism and offering an ‘alternative’ way of living. As garden and gardener, soul and self, all speak with each other, they are conscious of how close fire and other catastrophes are, and together they try to evoke a healing and a path through to justice for the biosphere. Known for his wide variety of poetic approaches and techniques, this collection is very much about utterance, place and a belief that there are no easy garden metaphors, that garden’s are also spaces of responsibility.' (Publication summary)