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Issue Details: First known date: 2016... 2016 Contemporary Australian Poetry
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AbstractHistoryArchive Description

'The quality of Australian poetry has never been higher, nor the number of distinctive voices greater. A landmark publication, this collection presents the astonishing achievements of Australian poetry during the last quarter of a century. Over ten years in preparation, gathering over 200 poets and 500 poems, it makes the case for this country's poetry as a broadening of the universal set for all English-speakers. 'Somewhat astonishingly,' the introduction notes, 'and while no-one was looking, Australian poetry has developed a momentum and a critical mass such that it has become one more luminous field in the English-speaking imagination. Increasingly, anyone who seeks to explore the perspectives or music available in English will also have to consider the perspectives and music which have originated here - Australia having turned itself, too, into a place in the mind.' Both survey and critical review, this anthology offers a rare opportunity to explore the major national achievement of contemporary Australian poetry. (Publication summary)'

Publication Details of Only Known VersionEarliest 2 Known Versions of

    • Glebe, Glebe - Leichhardt - Balmain area, Sydney Inner West, Sydney, New South Wales,: Puncher and Wattmann , 2016 .
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      Extent: 658p.
      Note/s:
      • Publication date 01 Nov 2016
      ISBN: 9781922186935

Works about this Work

'Seeing What the Hunger Is' : Current Criticism on Australian Poetry Andy Kissane , David Musgrave , Carolyn Rickett , 2018 single work criticism
— Appears in: Feeding the Ghost : 1 : Criticism on Contemporary Australian Poetry 2018; (p. 7-15)

'This book is aimed at providing criticism of contemporary Australian poetry in a form that is accessible to general readers of poetry. It is intended to be the first in a series which will grapple with the bewildering diversity of the contemporary poetry scene. Part of the need for this scholarly collection is remedial; as we will argue, poetry review culture often lacks critical bite and the exigencies of academic research often bypass critical evaluation. The recent publication of Contemporary Australian Poetry (2016) highlighted the strength and vitality of the art form in Australia over the last quarter of a century. Feeding the Ghost I: Criticism on Contemporary Australian Poetry is intended to complement that body of work which has surprised so many readers with its vigour and depth. ' (Introduction)
 

Free Verse and Its Disciplines Martin Langford , 2018 single work essay
— Appears in: Meanjin , Summer vol. 77 no. 4 2018; (p. 187-193)

'Two generations ago, the proponents of free and metrical verse were locked in battle. Now, without fanfare—and with no pretension to being the only way of doing it—free verse seems to be everywhere. This has not happened by chance. In the process, it has developed some powerful disciplines, many of which still seem to be poorly understood.'' (Introduction)

Neither Rhyme Nor Reason David Campbell , 2017 single work column
— Appears in: The Weekend Australian , 12 August 2017; (p. 22)

'The recent anthology Contemporary Australian Poetry, published by Puncher & Wattmann), purports to be “both a survey, and a critical review, of Australian poetry between 1990 and the present”. It’s not. In fact, it’s not even close. How can it be when the four editors completely omitted a genre of Australian verse that has enjoyed a great deal of popularity during this period?' (Introduction)

On Australian Poetry Now: A Response to David Campbell R. D. Wood , 2017 single work essay
— Appears in: Overland [Online] , August 2017;

'One way to read poetry in Australia is to see it as being in a constant state of conflict. For the most part, this is a cold war where poets argue with poets in very poetic ways – the outcry about Geoff Page’s Southerly blog probably counts as the outer limit of this activity, which manifests more often in email exchanges, reviews that are compliment sandwiches or gossipy asides. Sometimes this breaks out into the open, as we saw when John Kinsella took out a restraining order against Robert Adamson and Anthony Lawrence and which the Sydney Morning Herald covered in 2006.' (Introduction)

[Review Essay] Australian Contemporary Poetry TT. O , 2017 single work review essay
— Appears in: Long Paddock , vol. 77 no. 1 2017;

'In the wake of Brexit and the rise of Donald Trumpism (with the underlining racisms and sexisms) Education has turned out to be the new Class divide i.e. a clash of the Ignorant verses the Enlightened. Seems, the Educated fear being ruled by the Ignorant & Know-Nothings, and the Less-Educated fear (as has always been the case) being governed, by the arrogance of intellectual snobs who know next to little-or-nothing of their lives and experiences. It seems (according to the pundits) that people in Britain and the USA are increasingly being shaped (and Voting) according to how long they spent at school. (Sending all the commentators back to their proletarian textbooks presumably). The ancient Greeks knew that for Democracy to work properly, you had to let the Have-Nots get their claws into the Haves every now and then. But with the creeping rise of Corporations, Globalisation, the closing down of local industries in preference to world markets etc. this is becoming less and less possible or likely. It isn’t so surprising when you realise that Economists (from Hayek to Friedman) are all of a piece; seriously believing that Democracy itself is the cause of our “economic ills” producing inflation (no less) at the expense of free-market economics. This new cultural divide is nowhere more obvious however than in the current anthology. The Editors proudly headline the title of their Editorial (on the first page) with the words “A Luminous Field” (with their haloes, presumably) unashamedly parading the “new paradigms” of Australian poetry. This Elitist attitude permeates a lot of Australian anthologies, albeit not as blatantly as this one. It would be instructive to do a statistical breakdown of who and how and how many of those poets in those anthologies (especially pre-1980s) were similarly Degreed.' (Introduction)

Unruly Energies : Two Surveys of Australian Poetry John Hawke , 2017 single work criticism
— Appears in: Australian Book Review , March no. 389 2017; (p. 43-45)
‘According to The Magic Pudding, Bunyip Bluegum’s erudition is established through his ability to ‘converse on a great variety of subjects, having read all the best Australian poets’, a questionable achievement in Norman Lindsay’s day. A glance through the Annals of Australian Literature reveals the paucity of quality Australian poetry volumes published through most of the twentieth century, with selection shaped by the tastes of powerfully controlling editors, especially Douglas Stewart. Even in 1966, Max Harris’s survey essay on ‘Conflicts in Australian Intellectual Life’ – in which he inveighs against the academic gatekeeping of critics such as A.D.  Hope, James McAuley, and Vincent Buckley in the post-‘Ern Malley’ era – notes the limited opportunities for publication by emerging ‘younger non-intellectual’ poets. This situation changed dramatically for the generation of poets who appeared in the 1970s, with generous subsidies and the emergence of a range of independent and commercial publishing opportunities for poetry volumes: poets of this generation – whilst splitting the spoils along the lines of painstakingly demarcated coteries – responded to this opportunity by producing oeuvres often staggeringly more voluminous than those of the poets who preceded them (Kenneth Slessor’s 100 Poems would these days barely constitute a single publication).’ (Introduction)
A Storehouse of Poems Martin Duwell , 2017 single work criticism
— Appears in: Sydney Review of Books , March 2017;
'Since the continuities in poetry are at least as profound as its discontinuities — its palace revolutions — it is always difficult to periodise poetic history. It may be one of the barely intentioned achievements of Contemporary Australian Poetry that, in selecting poems published between 1990 and 2015, it successfully establishes 1990-2015 as a workable, quarter-century period.' (Introduction)
Is Contemporary Australian Poetry Contemporary Australian Poetry? Corey Wakeling , 2017 single work criticism
— Appears in: Cordite Poetry Review , 1 March vol. 57 no. 1 2017;
'Contemporary Australian Poetry (CAP) – an anthology of Australian poetry at present, in other words – comes introduced as a ‘survey, and a critical review, of Australian poetry between 1990 and the present (2016)’. What kind of document to this significant time-period does CAP constitute, and what bearing does it have on the question of an Australian contemporary? Most importantly, how do we now read Australia differently? What new forms of reading has contemporary poetry inspired in this country?' (Introduction)
Well Versed Louis Nowra , 2017 single work column
— Appears in: The Weekend Australian , 4 March 2017; (p. 16)
'There are hits and misses in an ambitious new anthology of contemporary Australian poetry, argues Louis Nowra.'
Waves of Continuity and Change Simon West , 2017 single work essay
— Appears in: The Weekend Australian , 8 April 2017; (p. 22)
'In the new anthology Contemporary Australian Poetry, published by Puncher & Wattmann, the editors make strong arguments for the cultural importance of poetry today. They celebrate how, for example, our poets continue to help us understand the natural environment not as a background for literature but as a complex presence in our lives.' (Introduction)
Last amended 23 Jun 2017 10:54:15
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