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Antonia Pont Antonia Pont i(A137254 works by)
Gender: Female
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Works By

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1 y separately published work icon The Memory Library Antonia Pont , Australia : Espresso , 2024 27447673 2024 single work novel science fiction

'After an unspecified disaster, the future is quiet and analogue. Behind a doorway in the old town, a private library service flourishes. Signed up by the inscrutable Charlie, patrons subscribe to a membership they don’t fully understand. Retro-tainment, existential eavesdropping, or the future of self-help?

'Whether heartbreak, a rainstorm, or habitual brittleness leads you to The Memory Library, your contributions can be accommodated.' (Publication summary)

1 Sucked into My Floral Veins like Fresh Data Antonia Pont , 2023 single work prose
— Appears in: The Writing Mind : Creative Writing Responses to Images of the Living Brain 2023;
1 Slow Train i "moon picture", Antonia Pont , 2021 single work poetry
— Appears in: Australian Poetry Journal , vol. 11 no. 1 2021; (p. 48-49)
1 Inheritances Antonia Pont , 2020 single work essay
— Appears in: Rabbit , no. 32 2020; (p. 169-172)
1 Piazza D'Italia Con Piedistallo Vuoto (1955) - Giorgio Di Chirico i "its species of plain clock (where second-hand flows", Antonia Pont , 2020 single work poetry
— Appears in: Rabbit , no. 32 2020; (p. 167-168)
1 Two Triptychs (Poem, Essay, Image) Antonia Pont , Oliver Driscoll , 2020 sequence poetry essay
— Appears in: Rabbit , no. 32 2020; (p. 166-179)
1 Mauerpark i "We bought", Antonia Pont , 2020 single work poetry
— Appears in: In Your Hands 2020; (p. 92-94)
1 Beyond Subhabituality : Time, Creativity and Disambiguating Capacity — After Deleuze, Foucault & Han Antonia Pont , 2020 single work essay
— Appears in: Axon : Creative Explorations , December vol. 10 no. 2 2020;

'This paper takes up the onto-poetic device of the ‘subhabitual’, riffing off the Deleuze of Difference and Repetition, where he outlines three modes in which time synthesises. It proposes that, despite the ‘living present’ (the time of habit) being the most basic of Deleuze’s times, certain shared and acquired behaviours prevalent in digitalised, pandemic and/or neoliberalising moments may undermine it. This loss of the basic present, furthermore, isn’t offset by and doesn’t usher in an opening onto either of Deleuze’s other two temporal modes. The paper goes on to consider the later Foucault’s interest in practices of care-of-the-self as pertaining to ethical obligations. Foucault’s self-care practices may be read (almost slant to his earlier analyses of discipline) as pertaining to the performing of behaviours or acts that are the conditions for the capacity for ethical, even emancipatory, behaviours. Complicating this, however, Byung-Chul Han’s recent concerns about Foucault’s earlier lack of scepticism for entrepreneurialism cast a subtle light across the notion of capacity. The paper seeks to begin a disambiguation of kinds of capacity: Deleuzian-Spinozan; late-Foucauldian; and those ‘capacities’ for auto-exploitation that go under the name of being-productive in neoliberal compliance-speak. It argues for actions that might refuse (at least sometimes) to comply with, or which can abstain from, logics that — after Simon Springer — we might dub neoliberal. Creative-writing-as-practising offers itself as one of these — perhaps a practice of care-of-the-self, definitely a valid shape for practising.' (Introduction)

1 Watching Tarkovsky (9 Cuts) Antonia Pont , 2020 single work poetry
— Appears in: TEXT Special Issue Website Series , April no. 58 2020;
1 Sick Day i "invent another way for yourself", Antonia Pont , 2020 single work poetry
— Appears in: Meniscus , vol. 8 no. 1 2020; (p. 152)
1 2 y separately published work icon You Will Not Know In Advance What You’ll Feel Antonia Pont , Melbourne : Rabbit Poetry Journal , 2019 18577337 2019 selected work poetry 'This threshold, the edge of things' - now, this single instant, unfolding through itself time, syntax, memory, want. You Will Not Know In Advance What You'll Feel has this radically spare structure of thought, within which, against which, Pont is characterful, quick, sensuous, ecstatic. Like Woolf's novel The Waves, this work creates the silence out of which it speaks. It washes the words in it. Reading these poems, you meet time - face to blind face. - Lisa Gorton'
1 Having Some Innuendo with You: Desire, Creativity, and the Digital Interval Antonia Pont , 2019 single work essay
— Appears in: The Lifted Brow , December no. 44 2019; (p. 11-16)
'My German best friend's husband, K., is one of those giant, chewable, long-limbed creatures. He's bouncing around their kitchen while we talk relationships - what makes 'n' breaks them. They're both therapists and work with adults and children. They own a lot of enormous plush toys for the clinic - a crow, a panther, a panda, a white pointer, an orangutan, among others. They say a child's a and attraction to a particular animal can help open discussion about what's preoccupying or worrying them; about sympathies, fears and identifications. (I choose, and suddenly everything makes sense.)'  (Publication abstract)
1 Personal Dinner Antonia Pont , 2019 single work short story
— Appears in: Meniscus , April vol. 7 no. 1 2019; (p. 101-102)
1 Milk River i "can barely stay on it", Antonia Pont , 2019 single work poetry
— Appears in: Cordite Poetry Review , 15 August no. 92 2019;
1 The Anatomy of a Trigger Antonia Pont , 2019 single work criticism
— Appears in: The Lifted Brow , September no. 43 2019; (p. 13-19)
'This is best-case scenario and, frankly, I'm sceptical. and is topic probably requires its own long book, however sincere beginnings are never to be sneezed at. With the trigger ('this' species of trigger), arguably, we have to be happy for any small step forward. The trigger I'll explore here is a tenacious beast. It lives in our house. Leaves the lights on. Steams up the bathroom. Replaces the 'good' bread with cheap bread. Rarely, however, do we quite clock its being there.' (Publication abstract)
1 Pont Vs Envy Antonia Pont , 2019 single work essay
— Appears in: The Lifted Brow , June no. 42 2019; (p. 25-30)

'Don't let that quote up there scare you. My interest in this essay is 'my interest in', my curiosity about, envy. Operating more as Nietzschean difference than as a negating, the 'vs', in other words, is active rather than adversarial. The take-home - to save your reading on - pertains to dosage. While grim to experience, envy insists; it isn't going anywhere. Even as visual trace, as word, it cuts a compelling figure. Four letters, in their uppercase guise: sloping, canyonesque, stalactite-mite-like. The 'E' faces its companions - who wait, lined up - and it contemplates its relation to them. They occupy space nearby, are proximate, parallel, but do not coincide with the 'E'. Envy, as philosopher Agnes Heller reminds us in 'A Theory of Feelings', tends to occur most virulently between 'similars', not across starker hierarchies.' (Publication abstract)

1 On Consent, Rejecting and Being Rejected Antonia Pont , 2019 single work essay
— Appears in: The Lifted Brow , March no. 41 2019; (p. 15, 17-25)

'Travelling around the northern hemisphere, a good chunk of time ago, I'd arranged to stay in ['name of large city'] with the relative of a close friend for a night or so. He lived in a share arrangement with two women artists. When he spoke of them, it was with a kind of dreamy reverence, something a more prudent guest might have clocked. Who knows, too, how he felt about a visitor, about the effort of hosting someone two steps removed? Guests are an interruption, a kind of work, after all. It was confirmed over email and, following a train-bus combo from the main airport to his suburb, he met me somewhere I can't recall and seemed pleased enough, even excited, that I'd arrived. We were about the same age, were known to sleep (at least sometimes) in hetero configurations and were both officially single. That day we traipsed around the city, stopping in at drinking establishments, meandering through galleries, careening around parks. I still have a photo of him clinging to a playground merry-go-round, giddy in the sunshine.' (Publication abstract)

1 Yellow-Tailed Black Cockatoos Antonia Pont , 2018 single work prose
— Appears in: TEXT Special Issue Website Series , October no. 50 2018;
1 Inoculation i "soak your head in the sun swathe", Antonia Pont , 2018 single work poetry
— Appears in: Westerly , vol. 63 no. 1 2018; (p. 14-15)
1 Intent | Concept | Reflection Antonia Pont , 2017 single work essay
— Appears in: Meniscus , June vol. 5 no. 1 2017; (p. 120-128)

Describes the concept of the New Works on Paper events, held in Melbourne in June, August, and November 2016, the outcomes of which are published in this section of Meniscus.

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