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Andy Kissane Andy Kissane i(A2633 works by)
Born: Established: 1959 Melbourne, Victoria, ;
Gender: Male
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Works By

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Island Laments Andy Kissane , sequence poetry
1 On Losing Another Argument with My Boyfriend i "I find him at The Black Cat, sitting", Andy Kissane , 2020 single work poetry
— Appears in: FourW (New Writing) , no. 31 2020; (p. 118-119)
1 Aubade for Johnno i "Esme doesn't get us.", Andy Kissane , 2019 single work poetry
— Appears in: FourW New Writing , no. 30 2019; (p. 106-107)
1 Kent State University—The Photograph i "I am still half asleep when I stumble", Andy Kissane , 2019 single work poetry
— Appears in: Cordite Poetry Review , 1 November no. 93 2019;
1 Hoop Girl i "As the trishaw rolls to a stop,", Andy Kissane , 2019 single work poetry
— Appears in: Cordite Poetry Review , 1 February no. 89 2019;
1 Searching the Dead i "The bone-coloured branches of the rusty fig", Andy Kissane , 2019 single work poetry
— Appears in: Australian Book Review , March no. 409 2019; (p. 43)
1 2 y separately published work icon The Tomb of the Unknown Artist Andy Kissane , Glebe : Puncher and Wattmann , 2019 15509469 2019 selected work poetry

'These poems are unflinching in the face of death, yet suffused with the delights of living, from a potato harvest to a walk beside a river. They are in tune with the complexities of the modern world — the unseen environmental impact of war, an apocalyptic vision of a flooded city, a shocking glimpse of school bullying, the very ordinary dreams of refugees. An extended sequence, set during the Vietnam war, dramatises the confronting nature of combat and the way it comes back to haunt you, night after sleepless night. Finally, a fascination with the creativity of painters builds to the blazing farewell of an unknown artist.'

Source: Publisher's blurb.

1 1 y separately published work icon The Intimacy of Strangers : North Shore Poetry Project Philip Porter (editor), Andy Kissane (editor), Willoughby : Pret a Porter , 2018 20902459 2018 anthology poetry 'Poetry has become the soft tissue of connection between people who would otherwise never have met, never exchanged the deepest of feelings and thoughts, never have become good friends. It is ironic, given the accolades social media attracts, that poetry is the best short cut to getting to know other people. It doesn't take many poems about love, loss, aloneness, God and no God for a poet's heart and mind to be exposed and responded to. It brings intimacy where there was inordinate privacy, community where there was just a passing of strangers.

'Poetry and its sharing gives a 'place' to those of us who have none and understanding of a 'place' to those who can identify with such a notion. It creates a space between the earnest and the imaginary, the entering of which, as Seamus Heaney offers, fills us 'with a momentary sense of freedom and wholeness, ' allowing us to 'transform the familiar into something rich and strange.'

'The Intimacy of Strangers together with weekly poetry workshops and monthly readings is a brilliant case study in how the North Shore Poetry Project has used reading, writing and listening to poetry to break the back of what has become an epidemic of suburban aloneness. It is not only a wonderful collection of poetry, but a textbook for anyone interested in bringing people together in a supportive and meaningful way.' (Publication summary)
 
1 The Swimmer i "It comes from an unknown place, this mystery,", Andy Kissane , 2018 single work poetry
— Appears in: Stilts , December no. 3 2018;
1 The War - Then and Now Andy Kissane , 2018 single work poetry
— Appears in: Buying Online : Newcastle Poetry Prize Anthology 2018 2018; (p. 44-50)
1 'Singing in My Careless Hand' : Dorothy Porter's Verse Novels Andy Kissane , 2018 single work criticism
— Appears in: Feeding the Ghost : 1 : Criticism on Contemporary Australian Poetry 2018; (p. 112-147)

'Dorothy Porter wanted to make poetry popular again, to bring r back into the mainstream and attract the readers that had abandoned it in the twentieth century, as the novel became the dominant literary form. She expressed that desire when discussing the mood and melancholia of T.S. Eliot's The Waste Land. She said, "I want to break away from that modernist fatigue. I want some green leaves to growl want poetry to get people intoxicated and drunk again. I want poem!' to be seen as something festive, fun and dangerous" (Digby 39). One way to capture some new ground for poetry was to challenge the relative domination of the lyric, which eventually resulted in Porter writing five verse novels. This chapter examines the successes and the limitations of these novels as narratives and as poetry.' (Introduction)

1 'Seeing What the Hunger Is' : Current Criticism on Australian Poetry Andy Kissane , David Musgrave , Carolyn Rickett , 2018 single work criticism
— Appears in: Feeding the Ghost : 1 : Criticism on Contemporary Australian Poetry 2018; (p. 7-15)

'This book is aimed at providing criticism of contemporary Australian poetry in a form that is accessible to general readers of poetry. It is intended to be the first in a series which will grapple with the bewildering diversity of the contemporary poetry scene. Part of the need for this scholarly collection is remedial; as we will argue, poetry review culture often lacks critical bite and the exigencies of academic research often bypass critical evaluation. The recent publication of Contemporary Australian Poetry (2016) highlighted the strength and vitality of the art form in Australia over the last quarter of a century. Feeding the Ghost I: Criticism on Contemporary Australian Poetry is intended to complement that body of work which has surprised so many readers with its vigour and depth. ' (Introduction)
 

1 Sacrifice i "We all make sacrifices for the war", Andy Kissane , 2018 single work poetry
— Appears in: Four W New Writing , no. 29 2018; (p. 56)
1 2 y separately published work icon Feeding the Ghost : 1 : Criticism on Contemporary Australian Poetry Andy Kissane (editor), David Musgrave (editor), Carolyn Rickett (editor), Waratah : Puncher and Wattmann , 2018 15390956 2018 anthology criticism

'This book is aimed at providing criticism on contemporary Australian poetry in a form that is accessible to general readers. It is intended to be the first in a series which will grapple with the bewildering diversity of the contemporary poetry scene. Australian poetry deserves a criticism that accompanies the astonishing momentum and luminosity that has developed, which both elucidates the scale of poetic achievement and is also not afraid to evaluate that achievement through a rigorous and disinterested critical lens. Australian poets have been feeding the ghost with extraordinary energy and acumen over the last quarter of a century; it is now time for Australian poetry criticism to catch up.' (Introduction)

1 A Heavenly Morning, A Lingering Aria i "My father's playing an aria I should know the name of,", Andy Kissane , 2018 single work poetry
— Appears in: Rabbit , no. 26 2018; (p. 80-82)
1 Flannel Flowers i "So we haven't had sex for three month -", Andy Kissane , 2018 single work poetry
— Appears in: Island , no. 152 2018; (p. 24)
1 The Tomb of the Unknown Artist i "When the time finally comes, lay me out", Andy Kissane , 2018 single work poetry
— Appears in: Island , no. 152 2018; (p. 24) In Your Hands 2020; (p. 55)

Author's note: After Grayson Perry

Denim. leather, tinsel, ceramic buttons, polypropylene, polyurethane' glass' Norfolk pine, nails, glue, rope, silk, taffeta, diamante beads, Swarovski crystals, paper, human carcass 
 

1 Johnno and the Seagulls i "is not the name of a boy band, though it could be,", Andy Kissane , 2018 single work poetry
— Appears in: Cordite Poetry Review , 1 February no. 84 2018;
1 A Personal History of Joy i "It hangs for a moment before your face -", Andy Kissane , 2017 single work poetry
— Appears in: Joy : Poems from the 2017 ACU Prize for Poetry 2017; (p. 34-36)
1 The Study Before the Major Work i "I have learnt from experience that you must begin", Andy Kissane , 2017 single work poetry
— Appears in: Australian Poetry Journal , vol. 7 no. 2 2017; (p. 22)
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