'Aflame begins in Soviet Moscow and ends with a Tibetan Buddhist monk's self-immolation; residing between them - improvisations after celebrated Japanese Haikus. Written in an intricate and polyphonic structure, Subhash Jaireth's rare and carefully crafted rhythms reveal the creeping melancholic joy of silence and life's elusive beauty.' (Publication summary)
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Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Imagination and Virtuosity : New Poetry by Anthony Lawrence and Subhash Jaireth
2022
single work
review
— Appears in: Australian Book Review , April no. 441 2022; (p. 42-43)
— Review of Ken 2021 selected work poetry ; Aflame 2021 selected work prose'Australia has a stylish new poetry press. The two books reviewed here by Life Before Man, the poetry wing of Gazebo Books, preference book cover art and poem above all the usual paraphernalia: publishing details, barcodes, author notes – even the epigraph – are tucked into a back page, and there are no apparently distracting contents pages or page numbers. Most of the poems sit neatly on the right side of the page with a private blank beige page buffer. There’s orientation in a contents list, and I trust the poets have a choice about whether they want one. That said, there’s a holiday-like liberation in slipping through unmoored. It’s a subtle reading experience, but do these aesthetic somewhat precious innovations justify the use of extra paper?' (Publication summary)
-
Imagination and Virtuosity : New Poetry by Anthony Lawrence and Subhash Jaireth
2022
single work
review
— Appears in: Australian Book Review , April no. 441 2022; (p. 42-43)
— Review of Ken 2021 selected work poetry ; Aflame 2021 selected work prose'Australia has a stylish new poetry press. The two books reviewed here by Life Before Man, the poetry wing of Gazebo Books, preference book cover art and poem above all the usual paraphernalia: publishing details, barcodes, author notes – even the epigraph – are tucked into a back page, and there are no apparently distracting contents pages or page numbers. Most of the poems sit neatly on the right side of the page with a private blank beige page buffer. There’s orientation in a contents list, and I trust the poets have a choice about whether they want one. That said, there’s a holiday-like liberation in slipping through unmoored. It’s a subtle reading experience, but do these aesthetic somewhat precious innovations justify the use of extra paper?' (Publication summary)