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AbstractHistoryArchive Description
'The title poem of this collection ('Ladylike') draws on pamphlets associated with the notorious case of the bigamist Mary Carleton, who was executed in 1673, and texts contemporary with it; women from Sigmund Freud's case studies provide the material for the series of poems, 'Round Vienna'; and the sequence 'Cleft' is dedicated to Kate Lilley's mother, Australian literary giant Dorothy Hewett.
'Throughout this collection, Kate mines the areas of her scholarly specialisation - the early modern period - as well as contemporary popular culture and matches it with some of the twentieth century's enduring interests such as psychoanalysis and Freud.
'Ladylike is a valuable addition to Australian poetry at large and will be of interest to readers of poetry, early modern history, Freud and early psychoanalysis.' (From the publisher's website.)
Notes
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Dedication: Melisssa Anagrammatized (a dedication)
Misheard Aisle/ Malaise Ids Her
Deliria Shames/ Deliria Mashes
A Shared Simile/ Harmed Liaises
Maid Airs Heels/ Maid Lash Siree
Alias Mired She/ Arias Shield Me
Dahlia Seem Sir/ Dahlia Sires Me
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Epigraph: Everyone knows what the female complaint is - Lauren Berlant
Contents
- Fifty Minutes, single work autobiography (p. xi-xiii)
- The Double Session, sequence poetry (p. 1-26)
- Draftyi"there's a safe house round the corner", single work poetry (p. 3)
- Rhapsodyi"The past is awake and stirring", single work poetry (p. 4)
- Sprechstimmei"Beauty was never my friend.", single work poetry (p. 4)
- I Wanted to Feel Closer to Godi"I wanted to show my affection", single work poetry (p. 6)
- Collegiatei"It's a buttoned-up preppy scene", single work poetry (p. 7-8)
- Executricei"Trance or decompensate, trick or treat,", single work poetry (p. 9)
- Metalandi"Telephone, bottle, stair", single work poetry (p. 10)
- Peti"The new teacher takes me out:", single work poetry (p. 11)
- Crushi"When I say that history was my favourite", single work poetry (p. 12)
- Almanaci"Panadol Tuesday", single work poetry (p. 13)
- Human Scalei"Preposterous recall (stop naming names)", single work poetry (p. 14)
- Sworni"Turned out crook (as predicted)", single work poetry (p. 15)
- Tell the Truthi"Tough-on-crime hindsight", single work poetry (p. 16)
- My Badi"In the doghouse my date barks back", single work poetry (p. 17)
- Bookwormi"I am a man of routine", single work poetry (p. 18)
- Baghdad Grammysi"Prince and Beyonce tearing up Purple Rain", single work poetry (p. 19)
- Anniversary (Summer Vacation)i"Our first date was Summer Vacation: 1999", single work poetry (p. 20-21)
- 1-800-Deniedi"Take this watch in token of my etc.", single work poetry (p. 22)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
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Aspects of Australian Poetry in 2012
2013
single work
review
— Appears in: Westerly , June vol. 58 no. 1 2013; (p. 68-91)'T he act of reading for appraisal rather than pleasure is a privilege that brings me to a deepened understanding of the contemporary in Australian poetry, the way the past is being framed, its traditions, celebrities and enigmas washed up in new and hybrid appearances or redressed in more conventional, sometimes nimbus forms. Judith Wright wrote that the ‘place to find clues is not in the present, it lies in the past: a shallow past, as all immigrants to Australia know, and all of us are immigrants.’ The discipline of reading to filter such a range of voices underlines my foreignness, making reading akin to translation, whilst reciprocally inviting the reader of this essay to become a foreigner to my assumptions and conclusions.' (Introduction)
-
Reading Contemporary Verse : The Swarm and Its (Ill)literacies
2013
single work
criticism
— Appears in: Meanjin , Winter vol. 72 no. 2 2013; (p. 68-74) -
Nodes of Bright Colour
2012
single work
review
— Appears in: Australian Poetry Journal , vol. 2 no. 2 2012; (p. 85-90)
— Review of Ladylike 2012 selected work poetry ; Crimson Crop 2012 selected work poetry -
Untitled
2012
single work
review
— Appears in: Southerly , vol. 72 no. 1 2012; (p. 222-227)
— Review of Ladylike 2012 selected work poetry -
Wild Ways and Inky Borders
2012
single work
review
— Appears in: The Canberra Times , 28 July 2012; (p. 22)
— Review of Ladylike 2012 selected work poetry ; First Light 2012 selected work poetry
-
Petticoat Slide
2012
single work
review
— Appears in: Australian Book Review , June no. 342 2012; (p. 61)
— Review of Ladylike 2012 selected work poetry -
Poet Peeks through Her Veil of Art
2012
single work
review
— Appears in: The Weekend Australian , 23 - 24 June 2012; (p. 18-19)
— Review of Ladylike 2012 selected work poetry -
What It Means To Be a Woman
2012
single work
review
— Appears in: The Sydney Morning Herald , 14-15 July 2012; (p. 37) The Saturday Age , 21 July 2012; (p. 34)
— Review of Ladylike 2012 selected work poetry -
Wild Ways and Inky Borders
2012
single work
review
— Appears in: The Canberra Times , 28 July 2012; (p. 22)
— Review of Ladylike 2012 selected work poetry ; First Light 2012 selected work poetry -
Untitled
2012
single work
review
— Appears in: Southerly , vol. 72 no. 1 2012; (p. 222-227)
— Review of Ladylike 2012 selected work poetry -
Reading Contemporary Verse : The Swarm and Its (Ill)literacies
2013
single work
criticism
— Appears in: Meanjin , Winter vol. 72 no. 2 2013; (p. 68-74) -
Aspects of Australian Poetry in 2012
2013
single work
review
— Appears in: Westerly , June vol. 58 no. 1 2013; (p. 68-91)'T he act of reading for appraisal rather than pleasure is a privilege that brings me to a deepened understanding of the contemporary in Australian poetry, the way the past is being framed, its traditions, celebrities and enigmas washed up in new and hybrid appearances or redressed in more conventional, sometimes nimbus forms. Judith Wright wrote that the ‘place to find clues is not in the present, it lies in the past: a shallow past, as all immigrants to Australia know, and all of us are immigrants.’ The discipline of reading to filter such a range of voices underlines my foreignness, making reading akin to translation, whilst reciprocally inviting the reader of this essay to become a foreigner to my assumptions and conclusions.' (Introduction)
