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y separately published work icon Meanjin periodical issue  
Issue Details: First known date: 1991... vol. 50 no. 4 Summer 1991 of Meanjin est. 1940 Meanjin
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Contents

* Contents derived from the , 1991 version. Please note that other versions/publications may contain different contents. See the Publication Details.
The Hands of Genghis : A Dream from the Riveri"A myth that I dream stands", David Rowbotham , single work poetry (p. 626-627)
For Michaeli"I am sitting in a room high", Chris Mansell , single work poetry (p. 627-628)
Musei"She waits to be invoked,", Diane Fahey , single work poetry (p. 632)
What Mortal Endi"Those quick inventive brains, who with early distant", Tom Haltwarden , single work poetry
Three poems written by Matthew Arnold ('The Buried Life', 'Dover Beach', and 'The Scholar-Gypsy') typed as one continuous text and put through a computer program (Neil J. Rubenking's 'Brekdown' ) to re-assemble in a different form. Both the title and the author's name are anagrams of Matthew Arnold.
 (p. 633)
Her Shy Banjoi"Rain, without it there can be no September music", Joy H. Breshan , single work poetry
Several pages of poems written by John Asbery typed as one continuous text and put through a computer program (Neil J. Rubenking's 'Brekdown' ) to re-assemble in a different form. Both the title and the author's name are anagrams of John Asbery .
 (p. 634)
Mr. Rubenking's 'Breakdown'[sic] : The Utilisation of Digital Computers in the Deconstruction and Reconstruction of Writing 'Dogs in All the Unregarded Bales' : Mr Rubenking's 'Breakdown' [sic], John Tranter , single work prose

'BrekDown' is a text analysis and text generation program written in Turbo Pascal for IBM-compatible personal computers, devised in 1985 by the San Francisco programmer Neil J. Rubenking. 'Brekdown' can also blend the styles of two or more texts, and reconstruct a text with the characteristics of this blended style.

The article is accompanied by two examples of this 'robot poetry' - 'What Mortal End' and 'Her Shy Banjo' derived from the works of Matthew Arnold and John Ashbery respectively. Both the titles of these poems and the names of their authors are anagrams of the real poets' names. John Tranter has also written seven prose pieces using this technique, in each case blending two writers into one new creature. They appear in Different Hands (1998).

 (p. 635-638)
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