AustLit
Latest Issues
AbstractHistoryArchive Description
Australian ravens is a book of mourning, celebration, family, misgiving, lies and caution. The three long poems in this book, ‘Broken’, ‘Not being in Kyoto’ and ‘The Blue Gum’, each extend the questioning of memory, place and the past that featured in McLaren’s first collection, The Kurri Kurri Book of the Dead. Australian ravens reaches deeply into place, making it up, trying to forget it, remembering and misremembering in equal measure, finding…
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Poets Live and Fictive : Five Collections
2017
single work
essay
— Appears in: Meanjin , Autumn vol. 76 no. 1 2017; (p. 182-188)'Chorale at the Crossing ‘gathers together the work Porter completed after the publication of his final collection, Better than God’. It is an uneven book, with some very good poems, and some, such as ‘A Chip off the Old Blog’, which are little more than creative doodles: one suspects a few of its inclusions are for the sake of having enough poems for a book. That said, there are a dozen or so fully realised pieces, and a few that would make it into the most compact of Porter selecteds. Sean O’Brien has contributed a brief but useful introduction, and Christine Porter has written a thoughtful little afterword on one poem, ‘The Hermit Crab’—a genre we could use a lot more of, judging by the puzzlement with which unpractised but otherwise intelligent readers so often meet contemporary poetry.' (Introduction)
-
Poets Live and Fictive : Five Collections
2017
single work
essay
— Appears in: Meanjin , Autumn vol. 76 no. 1 2017; (p. 182-188)'Chorale at the Crossing ‘gathers together the work Porter completed after the publication of his final collection, Better than God’. It is an uneven book, with some very good poems, and some, such as ‘A Chip off the Old Blog’, which are little more than creative doodles: one suspects a few of its inclusions are for the sake of having enough poems for a book. That said, there are a dozen or so fully realised pieces, and a few that would make it into the most compact of Porter selecteds. Sean O’Brien has contributed a brief but useful introduction, and Christine Porter has written a thoughtful little afterword on one poem, ‘The Hermit Crab’—a genre we could use a lot more of, judging by the puzzlement with which unpractised but otherwise intelligent readers so often meet contemporary poetry.' (Introduction)
