AustLit
Latest Issues
Contents
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Rereadings VIII : Les A. Murray, Poems Against Economics,
single work
review
— Review of Poems against Economics 1972 selected work poetry ;'Half a century, as I’ve noted elsewhere, can be a very long time in poetic history: it’s the time between the death of Dr Johnson, for example, and the publication of Tennyson’s “The Lady of Shalott”. It’s now fifty years (more and less) since the publication of Les Murray’s Poems Against Economics. It’s his third book if one counts his contribution to The Ilex Tree (made up of sections by himself and Geoffrey Lehmann) as a single book but perhaps it would be more realistic to describe it, ala Fellini, as Murray’s second and a half. Poems Against Economics was the first complete book of Murray’s poems which I read and I remember, even today, how impressed I was by the long sequence “Walking to the Cattle-Place” which makes up almost half the book. Fifty years on seems a good time to revisit it to see how much it has changed.' (Introduction)
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Stephen Edgar : Ghosts of Paradise,
single work
review
— Review of Ghosts of Paradise 2023 selected work poetry ;'Stephen Edgar’s new book relates to the new poems in his Selected – significantly called The Strangest Place – by a process of extension. If those slightly earlier poems seemed obsessed by the weirdness of the world of appearances, the poems of Ghosts of Paradise could be said to be preoccupied by the nature of the organism that perceives that strangeness. Perhaps it’s true that our minds are weirder than the world they spend their limited life interacting with but at any rate it is the mind, consciousness itself, that comes to the surface as the overriding theme of these poems. And it is the idea of ghosts – chimera produced by the mind – that is the main vehicle for this theme.'(Introduction)
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Simon West : Prickly Moses,
single work
review
— Review of Prickly Moses : Poems 2023 selected work poetry ;'I think of Simon West as one of a number of Australian poets who could be described as trying to make a possible contemporary lyric poetry. And this, his fifth book, continues the slow and intriguing evolution of his poetry in this direction. It builds on themes, obsessions and motifs familiar from early books but takes them in rather new directions. The homeland of the country around the Murray at Echuca has always been present both as a distinctively Australian environment – redgums and their filtered light, overflow channels, leaf litter and winding tracks – and an emotional home: what they call “a ground”. To balance this, there has always been West’s experience as an Italianist, inhabiting a very different physical and poetic environment. There has always, too, been an interest in the status of words – seen sometimes almost as though they were objects in themselves – and especially in the way they interact with the natural objects that they try to describe, a sense that the reality of a leaf or small piece of bark is almost infinitely complex and that language, even at a poetic pitch deploying all the techniques of tactility and available metaphor, can only really gesture in the direction of full description. This would result in a lyric poetry which, though falling short of the hypothetical goal of complete description, can also offer (or hope for) expansion, a fuller interaction with the world resulting in a fuller inner life for poet and reader. It’s a direction that the poems of Prickly Moses clearly want to explore.' (Introduction)Note: Posted -
Peter Boyle : Companions, Ancestors, Inscriptions,
single work
review
— Review of Companions, Ancestors, Inscriptions 2024 selected work poetry ;'Peter Boyle now has such an established place in contemporary Australian poetry that it isn’t really necessary, once again, to go over the features of his distinctive poetic sensibility and the kinds of poems it produces, beyond repeating that his approach to poetry has its roots not in English language poetry but in the poetry of the Romance languages two of which, French and Spanish, he speaks fluently. He is also a translator and the task of translating brings a poet into a greater intimacy with the work of another poet than simply reading does: in a sense it requires a very special kind of reading. Unlike the comparatively unified earlier books Enfolded in the Wings of a Great Darkness and Ideas of Travel, Companions, Ancestors, Inscriptions is something of a compendium. It is made up of five sections, each with varying degrees of coherence, usually distinguished from the others thematically.' (Introduction)
