AustLit
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Includes
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Graphology : Canto 2
i
"In the crypto signal corps",
1996
single work
poetry
— Appears in: Salt , vol. 9 no. 1996; (p. 64-66) Doppler Effect 2004; (p. 276-278) -
Graphology : Canto 3
i
"altruistically",
1996
single work
poetry
— Appears in: Salt , vol. 9 no. 1996; (p. 67-70) Doppler Effect 2004; (p. 279-282) -
Graphology : Canto 5
i
"she hand-wrote poems",
1997
single work
poetry
— Appears in: Picador New Writing 4 1997; (p. 244-247) Doppler Effect 2004; (p. 285-287) -
Graphology : Canto 7
i
"What use if we can't",
1997
single work
poetry
— Appears in: Picador New Writing 4 1997; (p. 247-248) Doppler Effect 2004; (p. 290-291) -
Graphology: Canto 1
i
"handwriting resonates",
2004
single work
poetry
— Appears in: Doppler Effect 2004; (p. 269-275) -
Graphology: Canto 4
i
"The handwritten auto-",
2004
single work
poetry
— Appears in: Doppler Effect 2004; (p. 283-284) -
Graphology: Canto 6
i
"The Victorian Cursive",
2004
single work
poetry
— Appears in: Doppler Effect 2004; (p. 288-289) -
Graphology: Canto 8
i
"eczema and asthma",
2004
single work
poetry
— Appears in: Doppler Effect 2004; (p. 292) -
Graphology: Canto 9
i
"The furious disgrace;",
2004
single work
poetry
— Appears in: Doppler Effect 2004; (p. 293-294) -
Graphology: Canto 10
i
"the sky-written greeting",
2004
single work
poetry
— Appears in: Doppler Effect 2004; (p. 295-296)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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On Genre
2021
single work
criticism
— Appears in: Angelaki , vol. 26 no. 2 2021; (p. 104-112)'Paradoxically, loss is the only unconditional possession possible in elegy. A deep understanding of this phenomenon is to be found in long prose forms and lyricism of contemporary Australian writers. Turning the history of literature – from the Medieval to the contemporary – into a body of work more relevant to our ecological plight, in Kinsella’s corpus genres are consequences of textual events operating within an organic totality. This totality deconstructs the reference point for elegy: loss as the condition of thought and experience. Sidestepping while matrixially reconfiguring traditional and experimental forms of writing, Kinsella’s engagement with genre exemplifies not only the undoing of the codes that constitute all possible readings of a text; it is an implicit critique of speech acts that tend to “fix” life into static nouns, reflecting our culture’s ideology of appropriation of nature. Within a critical counterpoint to appropriation (namely, possession), Australian writing can be read as both urging readers to remain alert to pastoral precedents yet avoid projecting genre onto texts. To some extent, elegy has been decolonised in Australian pastoral.' (Publication abstract)
-
On Genre
2021
single work
criticism
— Appears in: Angelaki , vol. 26 no. 2 2021; (p. 104-112)'Paradoxically, loss is the only unconditional possession possible in elegy. A deep understanding of this phenomenon is to be found in long prose forms and lyricism of contemporary Australian writers. Turning the history of literature – from the Medieval to the contemporary – into a body of work more relevant to our ecological plight, in Kinsella’s corpus genres are consequences of textual events operating within an organic totality. This totality deconstructs the reference point for elegy: loss as the condition of thought and experience. Sidestepping while matrixially reconfiguring traditional and experimental forms of writing, Kinsella’s engagement with genre exemplifies not only the undoing of the codes that constitute all possible readings of a text; it is an implicit critique of speech acts that tend to “fix” life into static nouns, reflecting our culture’s ideology of appropriation of nature. Within a critical counterpoint to appropriation (namely, possession), Australian writing can be read as both urging readers to remain alert to pastoral precedents yet avoid projecting genre onto texts. To some extent, elegy has been decolonised in Australian pastoral.' (Publication abstract)