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Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Spaces in Vincent Buckley's Poetry
2010
single work
criticism
— Appears in: JASAL , Special Issue 2010; 'This paper traces some of the forms taken by space in Vincent Buckley's poetry and some ways in which spaces are opened, closed off, filled, invited and shaped. It loosely follows a poetic development that itself loosely follows the trajectory of the life: from country to city and imaginatively back; from a separation of Australian and Irish matter to a pattern of connections and continuities. In early poems that deal with childhood the inside of the house is shut away. In the next phase, set in early maturity and the city, rooms become important, inhabited but set apart. That pivotal poem Golden Builders multiplies ideas about space in a tumultuous process of breaking open, breaking down, linking, imprisoning, provisionality, construction and regrowth, in which the self and its thoughts and cries compete with others to be heard and felt. After this, space is used much less defensively and in The Pattern it is mapped and traversed to close the major separation in both the poetry and the life, the separation of the two source countries. In Last Poems boundaries either vanish or are contemplated without anxiety. Spaces are at ease with forms.' (Source: http://www.nla.gov.au/openpublish/index.php/jasal/article/view/1451) -
‘[W]ry-Necked Memory' : The Matter of Ireland in Cutting Green Hay and Memory Ireland, and the Poems of The Pattern
2010
single work
criticism
— Appears in: JASAL , Special Issue 2010;'This paper examines the matter of Ireland in Buckley's two memoirs, Cutting Green Hay (1983) and Memory Ireland (1985), and the poems of The Pattern (1979), in order to revisit critically the ways in which he constructs himself as a diasporic Irish-Australian, a participant in the most remote Gaeltacht. It raises questions of victimhood, of similar and different experience of being at the mercy of the land, and of his re-engineering of the place of the political in poetry. It argues that Buckley's agonized positioning as Ireland's 'guest/foreigner/son' was a project that was doomed by its utopianism, and that, obsessed as he became with Ireland, the angst within had little to do with 'the Ireland within' or without. The paper suggests that the poet's slow and unacknowledged abandonment in his Irish period of a key tenet of modernism, its distrust of propaganda and the political, is in itself a new formation which had some continuity with the radicalism of his thinking during the formative years of the revolutionary catholic apostolate he led both at the University of Melbourne and nationally. It also points to the deployment of an ancient medieval Irish trope, that of the ocean (rather than a landmass) linking a dispersed community, as one of the ways the poetry effects a resolution of the issues of being 'Irish' in a remote country.' (Source : http://www.nla.gov.au/openpublish/index.php/jasal/article/view/1409) -
Singing Mastery : The Poetics of Vincent Buckley
1989
single work
criticism
— Appears in: Westerly , June vol. 34 no. 2 1989; (p. 50-56) -
Untitled
1982
single work
review
— Appears in: The Age Monthly Review , July vol. 2 no. 3 1982; (p. 9-10)
— Review of The Pattern 1979 selected work poetry -
The Public and Private Poetry of Vincent Buckley
1981
single work
review
— Appears in: Quadrant , May vol. 25 no. 5 1981; (p. 74-75)
— Review of Late-Winter Child 1979 sequence poetry ; The Pattern 1979 selected work poetry
-
Stroking it Open : A Poetry Chronicle
1980
single work
review
— Appears in: Meanjin , Spring vol. 39 no. 3 1980; (p. 351-363)
— Review of The Boys Who Stole the Funeral : A Novel Sequence 1980 single work novel ; The Pattern 1979 selected work poetry ; Late-Winter Child 1979 sequence poetry ; The Emotions Are Not Skilled Workers : Poems 1980 selected work poetry ; Cassandra Paddocks : Poems 1980 selected work poetry ; The Forbidden City : Poems 1979 selected work poetry ; Poems 1972-79 1979 selected work poetry ; Dazed in the Ladies Lounge : Poems 1979 selected work poetry ; Poems 1979 selected work poetry ; A Mile from Poetry 1979 selected work poetry -
Recent Poetry
1981
single work
review
— Appears in: Southerly , December vol. 41 no. 4 1981; (p. 469-477)
— Review of Punks Travels 1980 single work novella ; The Screaming Frog That Ralph Ate 1979 selected work poetry short story ; Two Sestinas 1980 selected work poetry ; The Vanguard Sleeps In : (A War Novel) 1981 selected work short story ; Mudcrab at Gambaro's 1980 selected work poetry ; The Pattern 1979 selected work poetry ; Late-Winter Child 1979 sequence poetry ; Stalin's Holidays : Poems 1980 selected work poetry ; Djarp : The Predestined Path that Leads from Life to Death 1975 selected work poetry ; The Division of Anger : Poems 1980 selected work poetry ; A Moonbeam's Metamorphosis / The Parachuting Man 1979 selected work poetry ; Among the Living 1980 selected work poetry ; Barbarians 1981 selected work poetry -
Untitled
1980
single work
review
— Appears in: The Age , 13 September 1980; (p. 27)
— Review of Late-Winter Child 1979 sequence poetry ; The Pattern 1979 selected work poetry -
Obliged to Destiny
1980
single work
review
— Appears in: Australian Book Review , September no. 24 1980; (p. 13)
— Review of Late-Winter Child 1979 sequence poetry ; The Pattern 1979 selected work poetry -
Not a God but a Child
1980
single work
review
— Appears in: Overland , December no. 82 1980; (p. 70-71)
— Review of Late-Winter Child 1979 sequence poetry ; The Pattern 1979 selected work poetry -
‘[W]ry-Necked Memory' : The Matter of Ireland in Cutting Green Hay and Memory Ireland, and the Poems of The Pattern
2010
single work
criticism
— Appears in: JASAL , Special Issue 2010;'This paper examines the matter of Ireland in Buckley's two memoirs, Cutting Green Hay (1983) and Memory Ireland (1985), and the poems of The Pattern (1979), in order to revisit critically the ways in which he constructs himself as a diasporic Irish-Australian, a participant in the most remote Gaeltacht. It raises questions of victimhood, of similar and different experience of being at the mercy of the land, and of his re-engineering of the place of the political in poetry. It argues that Buckley's agonized positioning as Ireland's 'guest/foreigner/son' was a project that was doomed by its utopianism, and that, obsessed as he became with Ireland, the angst within had little to do with 'the Ireland within' or without. The paper suggests that the poet's slow and unacknowledged abandonment in his Irish period of a key tenet of modernism, its distrust of propaganda and the political, is in itself a new formation which had some continuity with the radicalism of his thinking during the formative years of the revolutionary catholic apostolate he led both at the University of Melbourne and nationally. It also points to the deployment of an ancient medieval Irish trope, that of the ocean (rather than a landmass) linking a dispersed community, as one of the ways the poetry effects a resolution of the issues of being 'Irish' in a remote country.' (Source : http://www.nla.gov.au/openpublish/index.php/jasal/article/view/1409) -
Spaces in Vincent Buckley's Poetry
2010
single work
criticism
— Appears in: JASAL , Special Issue 2010; 'This paper traces some of the forms taken by space in Vincent Buckley's poetry and some ways in which spaces are opened, closed off, filled, invited and shaped. It loosely follows a poetic development that itself loosely follows the trajectory of the life: from country to city and imaginatively back; from a separation of Australian and Irish matter to a pattern of connections and continuities. In early poems that deal with childhood the inside of the house is shut away. In the next phase, set in early maturity and the city, rooms become important, inhabited but set apart. That pivotal poem Golden Builders multiplies ideas about space in a tumultuous process of breaking open, breaking down, linking, imprisoning, provisionality, construction and regrowth, in which the self and its thoughts and cries compete with others to be heard and felt. After this, space is used much less defensively and in The Pattern it is mapped and traversed to close the major separation in both the poetry and the life, the separation of the two source countries. In Last Poems boundaries either vanish or are contemplated without anxiety. Spaces are at ease with forms.' (Source: http://www.nla.gov.au/openpublish/index.php/jasal/article/view/1451) -
Singing Mastery : The Poetics of Vincent Buckley
1989
single work
criticism
— Appears in: Westerly , June vol. 34 no. 2 1989; (p. 50-56)
Last amended 4 Jun 2001 14:33:27