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AbstractHistoryArchive Description
'This is the first publication of Michael Dransfield selected poems, gathered from every book in his relatively considerable output. They were chosen by poet and critic John Kinsella, whose lively Introduction positions this indelible Australian poet at an international level.
'Always controversial, poet Michael Dransfield's life story has tended to obscure his talent and achievement. Tales of drugs, sexual ambiguity and mythical and ancestral kingdoms have become iconic in the story of Michael Dransfield. However, he was much more. Visionary, poet-ecologist, minstrel, a writer of remarkable dexterity and versatility, he published four collections in three years and another three appeared after his death at 24. While never simply a young poet of his age - the late 60s and early 70s - he was connected to the popular culture of his time and place. He intended to change the world, and believed in the power of his own voice. Linguistically innovative and ahead of his time in so many ways, he also looked back. He was undoubtedly one of the great poets writing in English in his era, whose resonances are increasingly pertinent. Dransfield links the innovations of late twentieth-century Australian poetry with that revolutionary implosion of Ern Malley.'
Source: Publisher's blurb.
Notes
-
Epigraph: 'I'm the ghost haunting an old house, my poems are posthumous.' - Michael Dransfield, 1969
Contents
- Chopin Balladei"Upon the yellow lattice of parchment", single work poetry (p. 1)
- On a Theme of Taktakishvilii"Glimpsed among the birches", single work poetry (p. 2)
- Pas de Deux for Loversi"Morning ought not", single work poetry (p. 3)
- Portrait of the Artist as an Old Mani"In my father's house are many cobwebs.", single work poetry (p. 4)
- Epidermi"Canopy of nerve ends", single work poetry (p. 5)
- Death of Salvatore Quasimodoi"Scattered symbols in the garden;", single work poetry (p. 6)
- Goliardi"Going south", single work poetry (p. 7)
- Overdosei"Inertia of a warm day: the", single work poetry (p. 8)
- Lamentationsi"Reduced to nerve-end symbols", single work poetry (p. 9-10)
- Parnassus Mad Wardi"First day she hid in bed", single work poetry (p. 11)
-
Bum's Rushi"Becoming an eskimo isn't hard once you must.",
single work
poetry
(p. 12-13)
Note: Epigraph: 'Yea, is not even Apollo, with hair and harpstring of gold A bitter God to follow, a beautiful God to behold." - Swinburne
- Fixi"It is waking in the night,", single work poetry (p. 14)
- Ground Zeroi"wake up", single work poetry (p. 15)
- Souvenir of Casinoi"Genesis, a riverbank under the sun, waking to time;", single work poetry (p. 16)
- Courland Penders : Going Homei"At the end of the road are stone posts, two either side of", single work poetry (p. 17)
- Tapestry at Courland Pendersi"Tentacles of rose scratch the sides of afternoon", single work poetry (p. 18)
- Minstreli"The road unravels as I go,", single work poetry (p. 19)
- Like This for Yearsi"In the cold weather", single work poetry (p. 20)
- Birthday Ballad, Courland Pendersi"walking through endless", single work poetry (p. 21-22)
- Hilaryi"you are sitting in a tree", single work poetry (p. 23)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Rereadings VII : Michael Dransfield : A Retrospective, Edited by John Kinsella
2023
single work
review
— Appears in: Australian Poetry Review , no. 18 2023;
— Review of Michael Dransfield : A Retrospective 2002 selected work poetry'In just over one hundred days it will be fifty years since Michael Dransfield’s death in 1973. A half a century, as I have observed elsewhere, is a very long time in literature, especially modern literature and especially modern poetry whose history – influenced at least partly by the accessibility of poetry from what were, in the past, unavailable cultures and languages – is inclined to develop at breakneck speed. With a nice harmony, it is twenty years since the publication of this retrospective edited by John Kinsella which, itself, appeared after the two major contributions to understanding Dransfield’s life and work: Livio Dobrez’s Parnassus Mad Ward: Michael Dransfield and the New Australian Poetry (1990) and Patricia Dobrez’s biography of 1999.' (Introduction)
-
An “Infinitely Flexible” Space : Reading Michael Dransfield’s “Courland Penders” Poems through the Neobaroque and Dobrez’s Theory of “The Pouch”
2013
single work
criticism
— Appears in: Southerly , vol. 73 no. 1 2013; (p. 138-154)This essay 'seeks to find new ways to address Australian poetry, through the example of Michael Dransfield, a controversially significant poet.' (139)
-
Identity as Radical Alterity : Critiques of Eurocentrism, Coloniality, and Subjectivity in Contemporary Australian and Latin American Poetry
2010
single work
criticism
— Appears in: Antipodes , December vol. 24 no. 2 2010; (p. 189-197)'How to 'abandon Europe'? The oxymoronic quest to semantically or ideologically discard the signs of that which signifies modern thought and historical rationality in Europe's colonies is dismissed by Rama as futile. However, when the postcolonial relations of 'peripheries' to the European 'center' are examined the engagements between t he colonies and Europe are not characterized by straightforwardness either. While complete abandonment may not be possible, neither is complete affiliation. As such, postcoloniality can still be seen as a luminal state in its ambivalent positioning between what might be seen as originary Europe and a derivative periphery.
This article takes the periphery as a transnational, multilingual space, and it takes postcoloniality beyond the Anglosphere. It tests the hypothesis that there are postcolonial legacies shared across the Global South. Of central importance here is how postcoloniality is understood in Australia and Latin America, and how this is communicated in contemporary poetry pensamiento latinoamericano ['Latin American thought'].' (p. 189)
-
Jack Lindsay, Patrick White, and Postcolonial Medievalism
2010
single work
criticism
— Appears in: Postcolonial Issues in Australian Literature 2010; (p. 41-54) -
Posthumous Poet
2003
single work
review
— Appears in: Australian Book Review , March no. 249 2003; (p. 54)
— Review of Michael Dransfield : A Retrospective 2002 selected work poetry
-
[Review] Michael Dransfield : A Retrospective
2002
single work
review
— Appears in: Journal of Australian Studies , no. 73 2002; (p. 194-195) JAS Review of Books , August no. 8 2002;
— Review of Michael Dransfield : A Retrospective 2002 selected work poetry -
Fair Selection of Michael Dransfield's Poems
2003
single work
review
— Appears in: The Canberra Times , 8 February 2003; (p. 17)
— Review of Michael Dransfield : A Retrospective 2002 selected work poetry -
Posthumous Poet
2003
single work
review
— Appears in: Australian Book Review , March no. 249 2003; (p. 54)
— Review of Michael Dransfield : A Retrospective 2002 selected work poetry -
Words and Human Heads : New Poetry
2002
single work
review
— Appears in: Overland , Summer no. 169 2002; (p. 156-160)
— Review of Michael Dransfield : A Retrospective 2002 selected work poetry ; Wild about the Roof : Wollongong Poetry Workshop Anthology 2001 2001 anthology poetry ; Book 2000 selected work poetry ; Isabella 2000 single work novel ; Darkness Disguised 2002 selected work poetry ; Attempts at Being 2002 selected work poetry -
Rereadings VII : Michael Dransfield : A Retrospective, Edited by John Kinsella
2023
single work
review
— Appears in: Australian Poetry Review , no. 18 2023;
— Review of Michael Dransfield : A Retrospective 2002 selected work poetry'In just over one hundred days it will be fifty years since Michael Dransfield’s death in 1973. A half a century, as I have observed elsewhere, is a very long time in literature, especially modern literature and especially modern poetry whose history – influenced at least partly by the accessibility of poetry from what were, in the past, unavailable cultures and languages – is inclined to develop at breakneck speed. With a nice harmony, it is twenty years since the publication of this retrospective edited by John Kinsella which, itself, appeared after the two major contributions to understanding Dransfield’s life and work: Livio Dobrez’s Parnassus Mad Ward: Michael Dransfield and the New Australian Poetry (1990) and Patricia Dobrez’s biography of 1999.' (Introduction)
-
Jack Lindsay, Patrick White, and Postcolonial Medievalism
2010
single work
criticism
— Appears in: Postcolonial Issues in Australian Literature 2010; (p. 41-54) -
Identity as Radical Alterity : Critiques of Eurocentrism, Coloniality, and Subjectivity in Contemporary Australian and Latin American Poetry
2010
single work
criticism
— Appears in: Antipodes , December vol. 24 no. 2 2010; (p. 189-197)'How to 'abandon Europe'? The oxymoronic quest to semantically or ideologically discard the signs of that which signifies modern thought and historical rationality in Europe's colonies is dismissed by Rama as futile. However, when the postcolonial relations of 'peripheries' to the European 'center' are examined the engagements between t he colonies and Europe are not characterized by straightforwardness either. While complete abandonment may not be possible, neither is complete affiliation. As such, postcoloniality can still be seen as a luminal state in its ambivalent positioning between what might be seen as originary Europe and a derivative periphery.
This article takes the periphery as a transnational, multilingual space, and it takes postcoloniality beyond the Anglosphere. It tests the hypothesis that there are postcolonial legacies shared across the Global South. Of central importance here is how postcoloniality is understood in Australia and Latin America, and how this is communicated in contemporary poetry pensamiento latinoamericano ['Latin American thought'].' (p. 189)
-
An “Infinitely Flexible” Space : Reading Michael Dransfield’s “Courland Penders” Poems through the Neobaroque and Dobrez’s Theory of “The Pouch”
2013
single work
criticism
— Appears in: Southerly , vol. 73 no. 1 2013; (p. 138-154)This essay 'seeks to find new ways to address Australian poetry, through the example of Michael Dransfield, a controversially significant poet.' (139)