AustLit
Latest Issues
Notes
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Dedication: For Veronica Brady
and for my parents, Buck and Hilda.
Contents
- The Man Who Mistook His Wife for a Hati"The mind is the biggest city of all", single work poetry (p. 3-4)
- A Corporate Workouti"Chromium heavens are enough for him.", single work poetry (p. 5-7)
- Computer Games Computer Gamesi"Press", single work poetry (p. 8-10)
- Blind Date. Beesi"When he mentions the Right Names", single work poetry (p. 11)
- Seeing the Ordinaryi"The film's so badly grained its spots", single work poetry (p. 12-13)
- Sometimes It Seemsi"As he bends down on you during love", single work poetry (p. 14)
- At Midnight, When Metaphor Will Have to Doi"Of course it's always me you hear", single work poetry (p. 15-16)
- At York Minster Cathedrali"A slate short of the full roof, they", single work poetry (p. 17)
- Cable-Car, Innsbrucki"High up and only half-way there", single work poetry (p. 18-20)
- Cryptographsi"The air moves on you like a naked woman.", single work poetry (p. 21-22)
- Concertoi"With Grieg and Grainger dead", single work poetry (p. 23)
- The Gapi"Down between the gasping sides", single work poetry (p. 24-25)
- Voyage and Recalli"Fat and twenty one, he left the cabin", single work poetry (p. 26-27)
- A Shipboard Romancei"He finds the white paint of the ship", single work poetry (p. 28-29)
- The Sex of Autostrada Drivingi"Is there something patently Italian", single work poetry (p. 33-39)
- Thinking of the Taviani Brothers While Driving in Italyi"Fascisti break into farmhouses, batter men,", single work poetry (p. 40)
- Florence Swung Upi"Hot air moves above the street.", single work poetry (p. 41-42)
- Florence Swung Downi"If Florence is religion. My head goes white", single work poetry (p. 42-43)
- Florence Swungi"I talk to a Byzantine Madonna,", single work poetry (p. 44-45)
- After Many Marblesi"I like stone best", single work poetry (p. 46-47)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Philip Salom : Feeding Time to the Contemporary
2018
single work
criticism
— Appears in: Feeding the Ghost : 1 : Criticism on Contemporary Australian Poetry 2018; (p. 59-84)'One way to witness the futility of defining the contemporary is to read someone attempting it twenty years back. Geoff Page's A Readers Guide to Contemporary Australian Poetry (1995) opts, after some vacillations ("does it include last year, last decade or even the last three decades?") to locate it in the poets of the late 60s, "whether they were later considered conservative or radical"—Tranter, Forbes, Adamson, Murray, Lehmann, Gray (1-2). While Page finds it "hard to think of any woman born between 1940 and 1950 who has rivalled the impact of most of the male poets cited so far", Jan Owen (b. 1940), Jennifer Rankin (1941), Joanne Burns (1945), Jennifer Maiden (1949) all are given entries of roughly the same length (8). The critical and commercial success of the slightly younger Dorothy Porter (b.1954) proved a little too contemporary for Page, with The Monkey's Mask reduced to "the verse detective novel she is now working on", even if, four lines below, his own bibliography gives the title and its publication date of 1994—the year prior (228). While the "general loosening up" caused by the "Woodstock generation", paperbacks and live performance has proven fruitful, Page concedes that the majority of his sixty-four chosen poets are no longer writing, with only twenty-four remaining active, the rest "lost to journalism, academia, early death, arts administration, the novel and the counter-culture of northern New South Wales" (2-3)...' (Introduction)
-
A Salom Course
2016
single work
criticism
— Appears in: The Poetic Eye : Occasional Writings 1982-2012 2016; (p. 315-317) 'There's no doubt about it: Philip Salom's poems are proof of the power that is possible in the form. His subjects are more urgent than most and his technique rises to brilliance. Commenting on Salom's earlier poems, a reviewer praised his "formidable talent and imaginative richness," and announced that Salom's Sky Poems made up "a substantial volume in more ways than one."' I share this view. Salom has always had things to say about history, philosophy, art, and poetry, and he has always said them in ways that run rings around a lot of fashionable verse that merely hopes it will chance on a subject so striking that it will excuse commonplace expression.' (Introduction)
-
Artist as Poet; Poet as Travelling Teacher
1994
single work
review
— Appears in: Quadrant , January-February vol. 38 no. 1-2 1994; (p. 117-118)
— Review of Feeding the Ghost 1993 selected work poetry ; Selected Poems 1993 selected work poetry ; Dancing Table: Poems and Drawings 1986-1991 1992 selected work poetry -
Pomegranates, Persimmons and Pasolini
1993
single work
review
— Appears in: Meanjin , Spring vol. 52 no. 3 1993; (p. 573-581)
— Review of Feeding the Ghost 1993 selected work poetry ; Four New Poets 1993 anthology selected work poetry ; Bird Dream 1993 selected work poetry ; Pilgrim Routes 1993 selected work poetry ; The Language in My Tongue 1993 selected work poetry ; A Measure of Place 1993 selected work poetry ; The Barge 1993 selected work poetry -
[Review] Feeding the Ghost
1993
single work
review
— Appears in: Westerly , Winter vol. 38 no. 2 1993; (p. 87-89)
— Review of Feeding the Ghost 1993 selected work poetry
-
Voyage and Recall
1993
single work
review
— Appears in: The Times Literary Supplement , 20 August no. 4716 1993; (p. 6)
— Review of Feeding the Ghost 1993 selected work poetry ; Martin Johnston : Selected Poems and Prose 1993 selected work poetry prose extract biography criticism interview ; Poems 1970-1992 1993 selected work poetry -
Power Behind the Proposition
1993
single work
review
— Appears in: The Weekend Australian , 20-21 March 1993; (p. rev 7)
— Review of Dancing on the Drainboard 1993 selected work poetry ; Mysteries : Poems 1989-91 1993 selected work poetry ; Feeding the Ghost 1993 selected work poetry -
Forecasts
1992
single work
review
— Appears in: Australian Bookseller & Publisher , December-January (1992-1993) vol. 72 no. 1033 1992; (p. 29)
— Review of Feeding the Ghost 1993 selected work poetry -
Suddenly Salom and Brissenden
1993
single work
review
— Appears in: The Age , 20 March 1993; (p. 8)
— Review of Feeding the Ghost 1993 selected work poetry ; Suddenly Evening : The Selected Poems of R.F. Brissenden 1993 selected work poetry -
The Appeal of Creative Unease
1993
single work
review
— Appears in: Australian Book Review , April no. 149 1993; (p. 37-38)
— Review of Feeding the Ghost 1993 selected work poetry -
Philip Salom : Feeding Time to the Contemporary
2018
single work
criticism
— Appears in: Feeding the Ghost : 1 : Criticism on Contemporary Australian Poetry 2018; (p. 59-84)'One way to witness the futility of defining the contemporary is to read someone attempting it twenty years back. Geoff Page's A Readers Guide to Contemporary Australian Poetry (1995) opts, after some vacillations ("does it include last year, last decade or even the last three decades?") to locate it in the poets of the late 60s, "whether they were later considered conservative or radical"—Tranter, Forbes, Adamson, Murray, Lehmann, Gray (1-2). While Page finds it "hard to think of any woman born between 1940 and 1950 who has rivalled the impact of most of the male poets cited so far", Jan Owen (b. 1940), Jennifer Rankin (1941), Joanne Burns (1945), Jennifer Maiden (1949) all are given entries of roughly the same length (8). The critical and commercial success of the slightly younger Dorothy Porter (b.1954) proved a little too contemporary for Page, with The Monkey's Mask reduced to "the verse detective novel she is now working on", even if, four lines below, his own bibliography gives the title and its publication date of 1994—the year prior (228). While the "general loosening up" caused by the "Woodstock generation", paperbacks and live performance has proven fruitful, Page concedes that the majority of his sixty-four chosen poets are no longer writing, with only twenty-four remaining active, the rest "lost to journalism, academia, early death, arts administration, the novel and the counter-culture of northern New South Wales" (2-3)...' (Introduction)
-
A Salom Course
2016
single work
criticism
— Appears in: The Poetic Eye : Occasional Writings 1982-2012 2016; (p. 315-317) 'There's no doubt about it: Philip Salom's poems are proof of the power that is possible in the form. His subjects are more urgent than most and his technique rises to brilliance. Commenting on Salom's earlier poems, a reviewer praised his "formidable talent and imaginative richness," and announced that Salom's Sky Poems made up "a substantial volume in more ways than one."' I share this view. Salom has always had things to say about history, philosophy, art, and poetry, and he has always said them in ways that run rings around a lot of fashionable verse that merely hopes it will chance on a subject so striking that it will excuse commonplace expression.' (Introduction)