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'Series Two of the Tasmanian States of Poetry anthology is edited by Sarah Day and features poems by Christiane Conésa-Bostock, James Charlton, Jim Everett-pularia meenamatta, Anne Kellas, Gina Mercer, and Ben Walter.' (Introduction)
Contents
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State Editor's Introduction,
single work
essay
'A. E. Houseman memorably said: I could no more define poetry than a terrier can define a rat. It’s not an easy matter to justify one’s decisions when faced with numerous poems from which to make a limited selection. There’s no programmatic guide to what makes a poem successful although the impact of a good poem is something we all know and recognise. Generally it has something to do with registering a sense of shock – it might be the shock of the new, unexpected or strange, or it might be the shock of the familiar – it can take one off guard to be confronted by what one knows but didn’t know one knew. And what creates the shock? This is different with every poem. It may be linguistic – the relationship between the words or the acoustics of words and lines; it may be the imagery or information or impressions communicated; it may be the tensions and dynamics set up between all or some of these elements that results in a poetic imperative. The ineffable subtleties at work in a poem are endlessly unpredictable; it’s that unpredictability that makes poetry so compelling. You never know in what way a poem is going to reach you.' (Introduction)
- How to Get Rid of the Layer of Snowi"First, you have to get rid of the layer of snow.", single work poetry
- Probablyi"I'll go that way, by sea", single work poetry
- As You Left Home One Winter's Nighti"It’s dawn but it’s dark.", single work poetry
- The Findingi"Here,", single work poetry
- Travelling to My Mother Last Centuryi"I step in a taxi, again.", single work poetry
- So Many Throatsi"There is speech everywhere:", single work poetry
- Scatomanceri"We poke apart devil scats.", single work poetry
- Thisi"We invent the colour ‘blue’", single work poetry
- Wonderi"The failed money-fix of the 1980s:", single work poetry
- Choir Practicei"A priest undoes his belt.", single work poetry
- Blood Lusti"Australians you now call yourselves,", single work poetry
- Ghost Nets and Waterlinesi"Our Earth Mother cries when the nets are set adrift", single work poetry
- On the Road with Bucki"one day I was drivin' down with Buck Brown along the coast", single work poetry
- From the Outsidei"Okay, I’m from the outside", single work poetry
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Extracts from "The Dictionary Aquatici"Distinctive mating call of wild creeks. Rarely heard in cities where this species has been",
single work
poetry
This poem is in ten titled parts.
- Rapidesi"The light gets tired, he writes, and I wonder if water, too, can get weary with all that", single work poetry
- My First Ever Selfiei"Me alongside that world-famous celebrity", single work poetry
- Waking up Poemi"Forget", single work poetry
- After, There Are the Birdsi"He sends me photos", single work poetry
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
State Editor's Introduction
2017
single work
essay
— Appears in: States of Poetry - Tasmania 2017;'A. E. Houseman memorably said: I could no more define poetry than a terrier can define a rat. It’s not an easy matter to justify one’s decisions when faced with numerous poems from which to make a limited selection. There’s no programmatic guide to what makes a poem successful although the impact of a good poem is something we all know and recognise. Generally it has something to do with registering a sense of shock – it might be the shock of the new, unexpected or strange, or it might be the shock of the familiar – it can take one off guard to be confronted by what one knows but didn’t know one knew. And what creates the shock? This is different with every poem. It may be linguistic – the relationship between the words or the acoustics of words and lines; it may be the imagery or information or impressions communicated; it may be the tensions and dynamics set up between all or some of these elements that results in a poetic imperative. The ineffable subtleties at work in a poem are endlessly unpredictable; it’s that unpredictability that makes poetry so compelling. You never know in what way a poem is going to reach you.' (Introduction)
-
State Editor's Introduction
2017
single work
essay
— Appears in: States of Poetry - Tasmania 2017;'A. E. Houseman memorably said: I could no more define poetry than a terrier can define a rat. It’s not an easy matter to justify one’s decisions when faced with numerous poems from which to make a limited selection. There’s no programmatic guide to what makes a poem successful although the impact of a good poem is something we all know and recognise. Generally it has something to do with registering a sense of shock – it might be the shock of the new, unexpected or strange, or it might be the shock of the familiar – it can take one off guard to be confronted by what one knows but didn’t know one knew. And what creates the shock? This is different with every poem. It may be linguistic – the relationship between the words or the acoustics of words and lines; it may be the imagery or information or impressions communicated; it may be the tensions and dynamics set up between all or some of these elements that results in a poetic imperative. The ineffable subtleties at work in a poem are endlessly unpredictable; it’s that unpredictability that makes poetry so compelling. You never know in what way a poem is going to reach you.' (Introduction)
