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Gregory Day Gregory Day i(A1306 works by)
Born: Established: Melbourne, Victoria, ;
Gender: Male
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Works By

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1 Whoo-Hoo Thinking Gregory Day , 2021 single work essay
— Appears in: Meanjin , Autumn vol. 80 no. 1 2021; Meanjin Online 2021;
1 Sister Light i "Wind braids the grass & combs the hides", Gregory Day , 2020 single work poetry
— Appears in: Australian Poetry Journal , vol. 10 no. 1 2020; (p. 49)
1 Ceding Self to Power of the Sea Gregory Day , 2020 single work review
— Appears in: The Weekend Australian , 28 March 2020; (p. 17)

— Review of A Kinder Sea Felicity Plunkett , 2020 selected work poetry
1 Free to Be a Long Way from Home Gregory Day , 2020 single work review
— Appears in: The Weekend Australian , 15 February 2020; (p. 24)

— Review of Ashbery Mode 2019 anthology poetry

'The English poet Mark Ford has been a champion of the poetry of John Ashbery for many years. He is the editor of Ashbery’s Collected Poems and has curated various archives and exhibitions of what many believe to be the most significant poetic voice to emerge from the US since World War II.' (Introduction)

1 All-Aussie Adventures in the Anthropocene and Beyond Gregory Day , 2020 single work review
— Appears in: The Weekend Australian , 8 February 2020; (p. 23)

— Review of Idling in Green Places : A Life of Alec Chisholm Russell McGregor , 2019 single work biography ; George Seddon : Selected Writings George Seddon , 2019 selected work prose ; Life : Selected Writings Tim Flannery , 2019 selected work essay criticism

'The proliferation goes on. The amount of new words being coined to name the reality and effects of our current era of natural and cultural crisis seems at times to be some kind of teeming linguistic correction to species extinction on a heating planet. I’ve listed them before in essays and reviews — anthropocene, capitalocene, ecocene, symbiocene, gynocene, chthulucene, etc. I’ve added moolacene, which employs the Wadawurrung word moola from my local region, meaning “shadow”. Moola is, of course, also the US-derived slang word for money, which many think is at the heart of the issue.' (Introduction)

1 Precise, Protean as Ever Gregory Day , 2020 single work review
— Appears in: The Weekend Australian , 8 February 2020; (p. 25)

— Review of Open Door John Kinsella , 2018 selected work poetry

'That poet John Kinsella is abrasive as a ­xanthorrhoea, electrically sensitive as a platypus bill and self-reflexively across all issues of the anthropocene is by now well integrated into his writing identity. With Open Door, the third of his Jam Tree Gully cycle, we find him returning to his family’s rural block on Ballardong Noongar land in Western Australia’s vast wheatbelt. In the place he loves and hates the most Kinsella immediately finds “a Dry as ­combustible as morality”, forcing him to fit his theme of homecoming and return through a penitential lens of empathy and rage, as he ­observes the ongoing effects of agricultural cauterisation of the landscape and the suffering of creatures in his midst. This is the poet as ­activist-crusader and student of animals, once again exhibiting his membership of a species increasingly tortured by its own culpability. As such, Open Door is ironically caged, not only by the obviousness of climate change, the bleeding obvious, but by how to write about it in the face of what amounts to a culturally arthritic denial.' (Publication summary)

1 Colours of the Ground : How Local Pigments Seek Local Words Gregory Day , 2020 single work essay
— Appears in: Cordite Poetry Review , 1 February no. 95 2020;
1 Otway Taenarum Gregory Day , 2019 single work autobiography
— Appears in: Meanjin , Summer vol. 78 no. 4 2019; (p. 50-61)

'1988. It is five years after the Ash Wednesday bushfires, which devastated many parts of Victoria, including the coastline of the Eastern Otways. It is also Australia’s Bicentennial year. A man in his early twenties sits on the step of a small fibro bungalow in the Aireys Inlet riverflat, in the thick shade of two towering old macrocarpa pines. Catching the light at his feet is a loamy brocade of russet pine needles, stretching across the yard to the sunroom of his house, one of the few buildings in the town to survive the fires.'(Introduction) 

1 Tree Change Gregory Day , 2019 single work review
— Appears in: Australian Book Review , November no. 416 2019; (p. 38)

— Review of Field of Poppies Carmel Bird , 2019 single work novel

'When Claude Monet lived in Argenteuil in the 1870s, he famously worked in a studio-boat on the Seine. He painted the river, he painted bridges over the river, he painted snow, the sky, his children and his wife, and, famously, a field of red poppies with a large country house in the background. Argenteuil is to Paris roughly what Heidelberg and Templestowe are to Melbourne. Once a riparian haven for plein air painters interested in capturing the transient optics of natural phenomena, it is now a suburban interface with a diminishing habitat for anything but humans.'(Introduction) 

1 Against the Tide Gregory Day , 2019 single work review
— Appears in: The Weekend Australian , 22 June 2019; (p. 25)

— Review of Brookings : The Noun : New Poems Jennifer Maiden , 2019 selected work poetry ; Yuiquimbiang Louise Crisp , 2019 selected work poetry
1 The Ocean Last Night Gregory Day , 2018 single work prose
— Appears in: Meanjin , Summer vol. 77 no. 4 2018; (p. 166-176)

'Lorne, Victoria, 1937. Who could say the name of the pollen that was billowing through the air along the road towards the pier? Who could say how many dolphins were in the pod arcing across Loutitt Bay? Who was to say how best to catch the purple crays crawling through the pools of the shelving shore, or what the name of the lemon-browed bird was bobbing in the currents between the waves?' (Introduction)

1 6 y separately published work icon A Sand Archive Gregory Day , Sydney : Picador , 2018 13723994 2018 single work novel

'Seeking stories of Australia's Great Ocean Road, a young writer stumbles across a manual from a minor player in the road's history, FB Herschell. It is a volume unremarkable in every way, save for the surprising portrait of its author that can be read between its lines: a vision of a man who writes with uncanny poetry about sand.

And as he continues to mine the archive of FB Herschell - engineer, historian, philosopher - it is not the subject, but the man who begins to fascinate. A man whose private revolution among the streets of Paris in May 1968 begins to change the way he views life, love, and the coastal landscape into which he was born...' (Source: Publisher's blurb)

1 The Unsaid Gregory Day , 2018 single work essay
— Appears in: Australian Book Review , April no. 400 2018; (p. 56)

'Despite the detailed excavatory art of the finest biographies, sometimes it takes the alchemical power of fiction to approximate the emotional geography of a single human and his or her milieu. Stephen Orr’s seventh novel, a compelling and at times distressing portrait of a twentieth-century Australian painter and his family, is one such book. Roland Griffin’s resemblance to that of Russell Drysdale is clear from early on, not only through Orr’s descriptions of the type of creator Griffin is – a painter of ‘small towns, deserted pubs ... it was all he knew’ – but also through the portrait of the artist’s troubled son (Drysdale’s only son suicided at the age of twenty-one). Drysdale’s family story obviously worked as a catalyst for Incredible Floridas but rather than chronicling that story itself, Orr employs his own creative divinations to construct a breathing and tactile fictional amalgam from its outlines and contours.' (Introduction)

1 Temenos Gregory Day , 2017 single work essay
— Appears in: Australian Book Review , December no. 397 2017; (p. 58)

— Review of The Best Australian Poems 2017 2017 anthology poetry

'When W.H. Auden took the cue for his poem ‘Musée des Beaux Arts’ from Brueghel’s Fall of Icarus, he did not presume the reader’s knowledge of the iconography of the painting but rather sprang open its central and universal theme, which touches all our lives: how ‘dreadful martyrdom must run its course’. It is easy to think our lurid times are perhaps unsuited to such universalities, given the way we loudly chart even the smallest martyrdom, or indulge the biggest Trump on any manner of forums without ever feeling the need to properly situate the subject within a unifying longue durée. The cultural seeds of Trumpism may be found in most real estate offices, just as they are in Aeschylus and Dan Brown. But who cares about that? When it comes to capturing hearts and minds, umbrage and outrage are as much subject to the traction of demand and supply as anything else. At present, there are more poets writing in this country alone than there are footballers kicking goals at the highest level or politicians compromising the healthy future of our children’s climate. But where are the crowds, where is the hysteria, and the press conferences? Thankfully, not here. Like the ploughman ignoring Icarus falling into the sea in Brueghel’s painting, the workaday world and its directional spotlight will always carry on as if nothing has happened in the poetry world.' (Introduction)

1 Mere Scenery and Poles of Light : Four Pre-historical Walkers of the Anthropocene Gregory Day , 2017 single work essay
— Appears in: Island , no. 148 2017; (p. 54-76)

'Through a suddenly lit arch in the cave of the mind, images of salt-dusted plains open up; winding paths along cliffs torn high above acidic tides; desire-lines scrawling away through serrated uplands and beyond to a tar horizon. The cave of the mind we leave, so dense with bats and thoughts, a subterrain of the senses, has offered us this: our two legs, scissors cutting away the dross; our feet, padded sensors returned tot he earth's slow philology; our heart, cradled in its basketry of ribs, sending a receiving prey and game from the brain.' (Introduction)

1 Open Page with Gregory Day Gregory Day , 2017 single work interview
— Appears in: Australian Book Review , August no. 393 2017; (p. 72)
1 Deas, The Boy Shepherd Gregory Day , 2016 single work short story
— Appears in: Review of Australian Fiction , vol. 18 no. 2 2016;
1 Eco-Laureate’s Dry Argument Gregory Day , 2016 single work review
— Appears in: The Weekend Australian , 30 April - 1 June 2016; (p. 18)

— Review of Drowning in Wheat : Selected Poems John Kinsella , 2016 selected work poetry
1 Poet Locates Human Comedy in Politics Gregory Day , 2016 single work review
— Appears in: The Weekend Australian , 23 January 2016; (p. 16)

— Review of The Fox Petition Jennifer Maiden , 2015 selected work poetry
1 Moth Sea Fog Gregory Day , 2016 single work short story
— Appears in: The Best Australian Stories 2016 2016; (p. 21-26)
'I talk to the moth caught in the car. Driving past heat-mottled dams whiskered with reeds. I tell him about the fog of the day before. It was not just any fog, but a time-fluxing sea fog outrolling the waves, creeping over neap-tide ledges, tickling the glossy anemones with its smoky edges. It made silhouettes of the gods.' (Introduction)
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