Leaving Wollongong Harbour single work   poetry   "I had thought to see the boat from yesterday"
Issue Details: First known date: 2002 2002
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Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Negotiating 'Negative Capability' : The Role of Place in Writing for Two Australian Poets Lynda Hawryluk , Leni Shilton , 2014 single work criticism
— Appears in: Axon : Creative Explorations , July vol. 4 no. 1 2014; Coolabah , no. 16 2015; (p. 48-73)

'This paper takes its lead from the poet John Keats’ notion of ‘negative capability’ (1891: 48), exploring some of the key methodologies of representing landscapes in writing, specifically using place to effect the process of ‘… being capable of being in uncertainties, Mysteries, doubt, without any irritable reaching after fact and reason …’ (48).

Keats refers to the poet as ‘taking part’ in the life of the poem; and being in the poem. This paper features our own poetry, located in two different landscapes and with its own understanding of place, which captures a sense of connection to rugged and remote terrains. To evoke this sense of connection, Keats’ negative capability comes into play—understood in this paper as a metaphysical space where a meditative state provides the writer with a ‘glimpse’; a recognition of that moment of connection without which ‘poetry cannot happen’ (Oliver 1994: 84)

Our writing, as will be discussed, is individually informed by knowledge about environment and notions of poetic space, where ‘aspects of the unconscious move into consciousness’ (Hetherington 2012: 8). This paper explores the commonalities and distinctions between our work, using brief examples.' (Publication abstract)

Negotiating 'Negative Capability' : The Role of Place in Writing for Two Australian Poets Lynda Hawryluk , Leni Shilton , 2014 single work criticism
— Appears in: Axon : Creative Explorations , July vol. 4 no. 1 2014; Coolabah , no. 16 2015; (p. 48-73)

'This paper takes its lead from the poet John Keats’ notion of ‘negative capability’ (1891: 48), exploring some of the key methodologies of representing landscapes in writing, specifically using place to effect the process of ‘… being capable of being in uncertainties, Mysteries, doubt, without any irritable reaching after fact and reason …’ (48).

Keats refers to the poet as ‘taking part’ in the life of the poem; and being in the poem. This paper features our own poetry, located in two different landscapes and with its own understanding of place, which captures a sense of connection to rugged and remote terrains. To evoke this sense of connection, Keats’ negative capability comes into play—understood in this paper as a metaphysical space where a meditative state provides the writer with a ‘glimpse’; a recognition of that moment of connection without which ‘poetry cannot happen’ (Oliver 1994: 84)

Our writing, as will be discussed, is individually informed by knowledge about environment and notions of poetic space, where ‘aspects of the unconscious move into consciousness’ (Hetherington 2012: 8). This paper explores the commonalities and distinctions between our work, using brief examples.' (Publication abstract)

Last amended 4 Jun 2002 11:32:01
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