AustLit
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Notes
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Experimental poetry interspersed with autobiographical statements by authors.
Contents
- Balloonsi"balloons", single work poetry
- The First Monotonei"monotone", 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)
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New Waves in Concrete
1989
single work
criticism
— Appears in: Overland , May no. 114 1989; (p. 66-71)
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New Waves in Concrete
1989
single work
criticism
— Appears in: Overland , May no. 114 1989; (p. 66-71) -
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)
