AustLit
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Notes
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Dedication: For Julia and Roland Husson
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Epigraph: 'Is not the main-truck higher than the kelson is low?' -- Moby Dick
Contents
- Blood is the Wateri"What theories come floating up as battles,", single work poetry (p. 3-15)
- Lilti"Making the slow line dip and sway in its motion,", single work poetry (p. 19)
- Ballad of the Invadersi"What on earth do you see", single work poetry (p. 20-21)
- The Centaur Withini"Your tight nets dredge the water", single work poetry (p. 22)
- The Jokeri"Self", single work poetry (p. 23)
- Chaosi"My stars", single work poetry (p. 24)
- Helli"A past without a present", single work poetry (p. 25)
- The Death of Rustumi"My centaur is broken. Ruksh", single work poetry (p. 26)
- Central Park Autumn (after Campana)i"To the wraithlike garden, the stiff tree shorn", single work poetry (p. 27)
- Evening at San Migueli"Suddenly, at shadow, the plaza fills with birds,", single work poetry (p. 28)
- Foreign Roomsi"To sing abroad,", single work poetry (p. 29-30)
- Getting Her Out of Bedi"Out out out", single work poetry (p. 31)
- The Good Spiriti"Having nothing to say", single work poetry (p. 32)
- In Hay Fever Season In Hay Fever Timei"Spring breaks down", single work poetry (p. 33)
- IIi"A drive flashes from the thick meat of my bat", single work poetry (p. 34)
- Ii"There he goes, went, catch him,", single work poetry (p. 34)
- III : For Bruce Dawei"Film has no tenses, the latest pundit says,", single work poetry (p. 35)
- IVi"Looms up the liner's rivetty white side,", single work poetry (p. 35)
- Mark Antonyi"Madam, why did your galleys turn and flee,", single work poetry (p. 36-37)
- Meditation with Memoriesi"All over the world things are going on at once,", single work poetry (p. 38-39)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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[Review] Where the Wind Came
single work
review
— Review of Where the Wind Came : Poems 1971 selected work poetry -
"The Water Changing under Keel" : Chris Wallace-Crabbe and the Transformation of Style
2020
single work
criticism
— Appears in: Antipodes , June vol. 34 no. 1 2020; (p. 7-21)'In The Breaking of Style, Helen Vendler observes that "in lyric writing, style in its largest sense is best understood as a material body." The body of style resists reshaping, and though the breaking may seem, at last, as fluid as water, many poems may be needed to prepare the transformation. This essay explores the emergence of an original voice through the first four collections by the distinguished Australian poet Chris Wallace-Crabbe. It tracks the agonistic forces of two distinct styles, present from the beginning of Wallace-Crabbe's oeuvre, demonstrating how these stylistic sources led through gradual transformation to the poet's mature voice.' (Publication abstract)
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Working in the Shadows : Belated Recognition of Australian Prose Poetry
2020
single work
essay
— Appears in: Australian Book Review , October no. 425 2020; (p. 54)'Until recently, Australian prose poetry hasn’t attracted much attention – we’re not sure why. Having written prose poetry for years, we’re both fascinated by the form, which can be loosely defined as poems written in paragraphs and sentences rather than in stanzas and lines.' (Introduction)
-
y
'Stop Laughing! I'm Being Serious' : Three Studies in Seriousness and Wit in Contemporary Australian Poetry
Townsville
:
Foundation for Australian Literary Studies, James Cook University of North Queensland
,
1990
Z230748
1990
single work
criticism
-
Australian Poets
1976
single work
review
— Appears in: The Journal of Commonwealth Literature , April vol. 10 no. 3 1976; (p. 75-78)
— Review of Where the Wind Came : Poems 1971 selected work poetry ; Australian Poetry 1971 1971 anthology poetry ; Selected Poems 1971 selected work poetry ; Snow and Other Poems 1971 selected work poetry ; The Pen of Feathers : Poems 1971 selected work poetry
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Private Poets
1972
single work
review
— Appears in: The Bulletin , 8 January vol. 94 no. 4788 1972; (p. 34-35)
— Review of Where the Wind Came : Poems 1971 selected work poetry ; Selected Poems 1971 selected work poetry ; The Pen of Feathers : Poems 1971 selected work poetry ; End of Dream-Time 1971 selected work poetry ; The First-Born and Other Poems 1970 selected work poetry -
[Review] Australian Poetry 1971 [and] Where the Wind Came
1972
single work
review
— Appears in: The Age , 1 January 1972; (p. 11)
— Review of Australian Poetry 1971 1971 anthology poetry ; Where the Wind Came : Poems 1971 selected work poetry -
[Review] Australian Poetry 1971 [et al]
1972
single work
review
— Appears in: Review , 26 February-3 March 1972; (p. 530)
— Review of Australian Poetry 1971 1971 anthology poetry ; Condolences of the Season : Selected Poems 1971 selected work poetry ; Where the Wind Came : Poems 1971 selected work poetry -
[Review] Where the Wind Came
1971
single work
review
— Appears in: National Times , 25-30 October 1971; (p. 22)
— Review of Where the Wind Came : Poems 1971 selected work poetry -
[Review] Where the Wind Came
1971
single work
review
— Appears in: New Poetry , vol. 19 no. 6 1971; (p. 35-36)
— Review of Where the Wind Came : Poems 1971 selected work poetry -
y
'Stop Laughing! I'm Being Serious' : Three Studies in Seriousness and Wit in Contemporary Australian Poetry
Townsville
:
Foundation for Australian Literary Studies, James Cook University of North Queensland
,
1990
Z230748
1990
single work
criticism
-
Working in the Shadows : Belated Recognition of Australian Prose Poetry
2020
single work
essay
— Appears in: Australian Book Review , October no. 425 2020; (p. 54)'Until recently, Australian prose poetry hasn’t attracted much attention – we’re not sure why. Having written prose poetry for years, we’re both fascinated by the form, which can be loosely defined as poems written in paragraphs and sentences rather than in stanzas and lines.' (Introduction)
-
"The Water Changing under Keel" : Chris Wallace-Crabbe and the Transformation of Style
2020
single work
criticism
— Appears in: Antipodes , June vol. 34 no. 1 2020; (p. 7-21)'In The Breaking of Style, Helen Vendler observes that "in lyric writing, style in its largest sense is best understood as a material body." The body of style resists reshaping, and though the breaking may seem, at last, as fluid as water, many poems may be needed to prepare the transformation. This essay explores the emergence of an original voice through the first four collections by the distinguished Australian poet Chris Wallace-Crabbe. It tracks the agonistic forces of two distinct styles, present from the beginning of Wallace-Crabbe's oeuvre, demonstrating how these stylistic sources led through gradual transformation to the poet's mature voice.' (Publication abstract)
