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y separately published work icon The City of Empty Rooms selected work   poetry  
  • Author:agent Thomas Shapcott http://www.poetrylibrary.edu.au/poets/shapcott-thomas-w
Issue Details: First known date: 2006... 2006 The City of Empty Rooms
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Notes

  • Dedication: For Bob, Jack and Jim
  • Content indexing in process.

Contents

* Contents derived from the Cambridge, Cambridgeshire,
c
England,
c
c
United Kingdom (UK),
c
Western Europe, Europe,
:
Salt Publishing , 2006 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Totemsi"We don't choose our own totem", Thomas Shapcott , single work poetry (p. 1-4)
Languagei"Language is alienation", Thomas Shapcott , single work poetry (p. 7-9)
Cape Lilacsi"'Cape Lilac, we call these.' In South Perth", Thomas Shapcott , single work poetry (p. 10)
Returning to Looei"My grandfather was born here in 1858", Thomas Shapcott , single work poetry (p. 11-12)
At Byron Bay 2001i"Rough tides have left teethmarks", Thomas Shapcott , single work poetry (p. 13)
Adelaide Stonei"It's what you notice. Walls like jigsaw puzzles", Thomas Shapcott , single work poetry (p. 14)
Reclaimi"My first visit to Limerick was the return", Thomas Shapcott , single work poetry (p. 15-16)
Looking for Ancestors in Limericki"Take a myth with you, they said.", Thomas Shapcott , single work poetry (p. 17-18)
Physalisi"Cape gooseberries in Tesco supermarket, London", Thomas Shapcott , single work poetry (p. 19)
Rain in the Courtyardi"In this Adelaide autumn, late and wet", Thomas Shapcott , single work poetry (p. 20-22)
Storiesi"The ending is easy", Thomas Shapcott , single work poetry (p. 23-25)
The Ballad of Razor Wirei"Once it was simply ore in the ground", Thomas Shapcott , single work poetry (p. 29)
Three Grotesquesi"The Future", Thomas Shapcott , single work poetry (p. 31)
To a Politiciani"When I first pulled a thread", Thomas Shapcott , single work poetry (p. 36)
Seven Refugee Poems, Thomas Shapcott , sequence poetry (p. 36-42)
Illuminationi"Because I'm left-handed that's what I notice.", Thomas Shapcott , single work poetry (p. 37)
Townscape With Refugeei"The young man stood near the bus shelter", Thomas Shapcott , single work poetry (p. 38)
Metal Chairi"He was sitting alone on one of those metal chairs", Thomas Shapcott , single work poetry (p. 39)
Terroristi"Glen was a teacher up at Woomera.", Thomas Shapcott , single work poetry (p. 40)
Considerate Treatmenti"Stop right there. Who", Thomas Shapcott , single work poetry (p. 41)

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Musicality as an Aesthetic Process of Filtering in Thomas W. Shapcott's Poetry Muslim Abbas Eidan Al-Ta'an , 2017 single work criticism
— Appears in: Advances in Language and Literary Studies , vol. 8 no. 5 2017;

'How does music transcend individual experience? Is music the filter to purify everything? How does everything in the poet become music? Such questions are raised, now and then, by the conscious reader of poetry in general and that of the Australian poet Thomas W. Shapcott in particular. My present research-paper attempts to present an answer for these questions via probing the individuality of Shapcott's poetic experience and how does the poet's personal and experimental musicality as an artistic motif and aesthetic perspective play a key role in purifying language of its lies and its daily impurities. In the first place, my account is apt to find an aesthetic meaning for the action of transcending the individual experience in selected poems written by Shapcott. The philosophical and ritual thought of musicality is interplayed with the aesthetic power of poetry. Both aesthetic energies stem from the individual experience of the poet to transcend the borders of individuality and being absorbed and saturated in the wide pot of human universality. In other words, the poem after being filtered and purified musically and aesthetically is no longer an individual experience owned by its producer only, rather it becomes a human experience for its conscious readers. Music as a motif and meaning, regardless of its technical significance, is controversial in Shapcott's poetic diction. Music, here, is not a mere artistic genre; rather it is a ritualistic and philosophical thought. The paper is to investigate how Shapcott's musicality is constructed on aesthetics of balance and conformity in poetry and life.' (Publication abstract)

Untitled Paul Sutton , 2008 single work review
— Appears in: The Adelaide Review , 18 - 31 January no. 333 2008; (p. 30)

— Review of The City of Empty Rooms Thomas Shapcott , 2006 selected work poetry
Tom Shapcott : The City of Empty Rooms Martin Duwell , 2007 2007 single work review
— Appears in: Australian Poetry Review , vol. 2 no. 2007;

— Review of The City of Empty Rooms Thomas Shapcott , 2006 selected work poetry
Untitled Heather Taylor Johnson , 2007 single work review
— Appears in: Wet Ink , Spring no. 8 2007; (p. 58)

— Review of The City of Empty Rooms Thomas Shapcott , 2006 selected work poetry
Poet Deploys Disjointed Rhythms and Harmonious Dissonances Justin Clemens , 2007 single work review
— Appears in: The Weekend Australian , 15-16 December 2007; (p. 16-17)

— Review of The City of Empty Rooms Thomas Shapcott , 2006 selected work poetry
Interim Report Ian Templeman , 2007 single work review
— Appears in: Australian Book Review , June no. 292 2007; (p. 56)

— Review of The City of Empty Rooms Thomas Shapcott , 2006 selected work poetry
Looking Back at Childhood with Unsentimental Eyes Geoff Page , 2007 single work review
— Appears in: The Canberra Times , 25 August 2007; (p. 18)

— Review of The City of Empty Rooms Thomas Shapcott , 2006 selected work poetry
'So You Make a Shadow' : Australian Poetry in Review 2006-2007 Lyn McCredden , 2007 single work review
— Appears in: Westerly , November vol. 52 no. 2007; (p. 81-98)

— Review of Vertigo (a Cantata) Jordie Albiston , 2007 selected work poetry ; All the Time in the World Dennis Haskell , 2006 selected work poetry ; The Escape Sonnets and Other Poetry Brian Edwards , 2006 selected work poetry ; Sometimes Gladness : Collected Poems, 1954 to 2005 Bruce Dawe , 2006 selected work poetry ; Ocean Island Julian Croft , 2006 selected work poetry ; I'm Not Racist, But... : A Collection of Social Observations Anita Heiss , 2007 selected work poetry ; Excess Baggage and Claim Terry Jaensch , Cyril Wong , 2007 selected work poetry ; The Passion Paintings : Poems 1983-2006 Aileen Kelly , 2006 selected work poetry ; Typewriter Music David Malouf , 2007 selected work poetry ; Fredy Neptune Les Murray , 1998 single work novel ; Lawrie and Shirley, The Final Cadenza : A Movie in Verse Geoff Page , 2006 single work novel ; A Difficult Faith : Poems Mark Reid , 2006 selected work poetry ; A Paddock in His Head Brendan Ryan , 2007 selected work poetry ; The City of Empty Rooms Thomas Shapcott , 2006 selected work poetry ; Helen of Troy and Other Poems Dimitris Tsaloumas , 2007 selected work poetry ; The Incoming Tide Petra White , 2007 selected work poetry
Poet Deploys Disjointed Rhythms and Harmonious Dissonances Justin Clemens , 2007 single work review
— Appears in: The Weekend Australian , 15-16 December 2007; (p. 16-17)

— Review of The City of Empty Rooms Thomas Shapcott , 2006 selected work poetry
Untitled Paul Sutton , 2008 single work review
— Appears in: The Adelaide Review , 18 - 31 January no. 333 2008; (p. 30)

— Review of The City of Empty Rooms Thomas Shapcott , 2006 selected work poetry
Musicality as an Aesthetic Process of Filtering in Thomas W. Shapcott's Poetry Muslim Abbas Eidan Al-Ta'an , 2017 single work criticism
— Appears in: Advances in Language and Literary Studies , vol. 8 no. 5 2017;

'How does music transcend individual experience? Is music the filter to purify everything? How does everything in the poet become music? Such questions are raised, now and then, by the conscious reader of poetry in general and that of the Australian poet Thomas W. Shapcott in particular. My present research-paper attempts to present an answer for these questions via probing the individuality of Shapcott's poetic experience and how does the poet's personal and experimental musicality as an artistic motif and aesthetic perspective play a key role in purifying language of its lies and its daily impurities. In the first place, my account is apt to find an aesthetic meaning for the action of transcending the individual experience in selected poems written by Shapcott. The philosophical and ritual thought of musicality is interplayed with the aesthetic power of poetry. Both aesthetic energies stem from the individual experience of the poet to transcend the borders of individuality and being absorbed and saturated in the wide pot of human universality. In other words, the poem after being filtered and purified musically and aesthetically is no longer an individual experience owned by its producer only, rather it becomes a human experience for its conscious readers. Music as a motif and meaning, regardless of its technical significance, is controversial in Shapcott's poetic diction. Music, here, is not a mere artistic genre; rather it is a ritualistic and philosophical thought. The paper is to investigate how Shapcott's musicality is constructed on aesthetics of balance and conformity in poetry and life.' (Publication abstract)

Last amended 27 Aug 2007 13:41:08
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