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Notes
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A song cycle consisting of three numbered sections.
Contents
- The Forest Set Out Like the Nighti"The dream:", single work poetry (p. 3-70)
- Love, the Cartographer's Wayi"The eucalypt appears to have a peculiar relation to the", single work poetry (p. 71-101)
- The Logs Like Silver Reliquaries, the Bones Long Persisting in the Grassi"It is May, you should be seeing the grey speckled moths", single work poetry (p. 103-116)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Undulating Separate : Locality and Nation in the Poetries of John Anderson and Lisa Bellear
2018
single work
criticism
— Appears in: JASAL , vol. 2 no. 18 2018;'As Troy Bramston writes, ‘By the end of 1992, [Paul] Keating had asked Australians to think about their history and their long-term future more than any other prime minister had. He was giving voice to a new nationalism for Australia at home and abroad.’ Politically speaking, this national ‘reorientation’ away from supposed cultural ties to Europe was partly reliant upon a strengthened relationship with North America as well as Asia (437); but a ‘new nationalism’ was being activated in the culture: what Anne Brewster terms a ‘new political imaginary’ that, ‘positions indigenous and non-indigenous people in a space of co-existence and co-habitation, where hierarchy is replaced with a sense of the coevalness of contemporary indigenous and non-indigenous modernisms’ (‘Brokering Cross-racial Feminism’ 218). A significant example of this is John Anderson’s long poem, the forest set out like the night. It was published in 1995, the year before Keating’s defeat as Prime Minister. Between the terms of Keating and Howard there emerged a constant public discourse about cultural identity. Lisa Bellear’s collection of poems, Dreaming in Urban Areas was published the year of Howard’s 1996 election win, and stands out as a voice of its moment. This essay considers these books together, against the background of their political era: not as historical artefacts, but rather, as works that try to act upon local and national culture through language. In light of growing commentary on, and contribution to decolonised poetics, this discussion suggests how that tension between the two books takes on a new, timely significance. ' (Publication abstract)
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Black Pepper Press : Spice and Grit
2015
single work
review
— Appears in: Australian Poetry Journal , vol. 5 no. 1 2015; (p. 110-121)
— Review of The Hanging of Jean Lee 1998 single work novel ; The Forest Set Out Like the Night 1995 single work poetry ; Eldershaw 2012 selected work poetry ; Exhibits of the Sun 2014 selected work poetry ; Paths of Flight 2013 selected work poetry ; Folly and Grief 2006 selected work poetry ; Colombine : New and Selected Poems 2010 selected work poetry ; Wimmera 2009 selected work poetry ; Woodsmoke 2013 selected work poetry -
Poetry Now
2008
single work
criticism
— Appears in: Five Bells , Spring/Summer vol. 15-16 no. 4/1 2008; (p. 98-103) -
Leaves from the Australian Bush : the Life and Work of John Anderson
1999
single work
criticism
— Appears in: Ulitarra , no. 15 1999; (p. 53-72) -
Prime Rating
1997
single work
review
— Appears in: Eureka Street , January-February vol. 7 no. 1 1997; (p. 44-45)
— Review of The Angry Penguin : Selected Poems of Max Harris 1996 selected work poetry ; Weeping for Lost Babylon 1996 selected work poetry ; The Forest Set Out Like the Night 1995 single work poetry
-
Prime Rating
1997
single work
review
— Appears in: Eureka Street , January-February vol. 7 no. 1 1997; (p. 44-45)
— Review of The Angry Penguin : Selected Poems of Max Harris 1996 selected work poetry ; Weeping for Lost Babylon 1996 selected work poetry ; The Forest Set Out Like the Night 1995 single work poetry -
Poetry Shorts
1996
single work
review
— Appears in: Australian Book Review , May no. 180 1996; (p. 50)
— Review of The Forest Set Out Like the Night 1995 single work poetry -
Black Pepper Press : Spice and Grit
2015
single work
review
— Appears in: Australian Poetry Journal , vol. 5 no. 1 2015; (p. 110-121)
— Review of The Hanging of Jean Lee 1998 single work novel ; The Forest Set Out Like the Night 1995 single work poetry ; Eldershaw 2012 selected work poetry ; Exhibits of the Sun 2014 selected work poetry ; Paths of Flight 2013 selected work poetry ; Folly and Grief 2006 selected work poetry ; Colombine : New and Selected Poems 2010 selected work poetry ; Wimmera 2009 selected work poetry ; Woodsmoke 2013 selected work poetry -
Leaves from the Australian Bush : the Life and Work of John Anderson
1999
single work
criticism
— Appears in: Ulitarra , no. 15 1999; (p. 53-72) -
Poetry Now
2008
single work
criticism
— Appears in: Five Bells , Spring/Summer vol. 15-16 no. 4/1 2008; (p. 98-103) -
Undulating Separate : Locality and Nation in the Poetries of John Anderson and Lisa Bellear
2018
single work
criticism
— Appears in: JASAL , vol. 2 no. 18 2018;'As Troy Bramston writes, ‘By the end of 1992, [Paul] Keating had asked Australians to think about their history and their long-term future more than any other prime minister had. He was giving voice to a new nationalism for Australia at home and abroad.’ Politically speaking, this national ‘reorientation’ away from supposed cultural ties to Europe was partly reliant upon a strengthened relationship with North America as well as Asia (437); but a ‘new nationalism’ was being activated in the culture: what Anne Brewster terms a ‘new political imaginary’ that, ‘positions indigenous and non-indigenous people in a space of co-existence and co-habitation, where hierarchy is replaced with a sense of the coevalness of contemporary indigenous and non-indigenous modernisms’ (‘Brokering Cross-racial Feminism’ 218). A significant example of this is John Anderson’s long poem, the forest set out like the night. It was published in 1995, the year before Keating’s defeat as Prime Minister. Between the terms of Keating and Howard there emerged a constant public discourse about cultural identity. Lisa Bellear’s collection of poems, Dreaming in Urban Areas was published the year of Howard’s 1996 election win, and stands out as a voice of its moment. This essay considers these books together, against the background of their political era: not as historical artefacts, but rather, as works that try to act upon local and national culture through language. In light of growing commentary on, and contribution to decolonised poetics, this discussion suggests how that tension between the two books takes on a new, timely significance. ' (Publication abstract)