The Wesley Michel Wright Prize in Poetry is open to authors or composers of original verse or poetry in the English language. Entrants must be Australian citizens. Poems can be no less than 50 lines up to a maximum of 500 lines. To be eligible, poems must have been published within the last 12 months from the closing date in either book or journal form (print or electronic).
Source: http://arts.unimelb.edu.au/award/wesley-michel-wright-prizes-poetry Sighted: 3/12/2013.
'These poems were written across 2016 when Kevin Brophy was living in the remote community of Mulan, home to the Walmajarri speaking custodians of the Indigenous Protected Area (IPA) around Lake Paruku (Lake Gregory in many maps) in Western Australia.' (Summary)
Inspired by the natural worlds surrounding Tübingen in Germany, Cambridge in England, the village of Schull in southwest Ireland and the West Australian wheatbelt, Kinsella explores through his poems the protection and valuing of human and animal life, and the environment itself. Reflecting on how the local and international are in constant flux and exchange, these poems consider the plight of refugees, the degradation of the natural world, militarisation and the tensions of global violence. As Kinsella contemplates the failure of public memory to memorialise and adequately face the horrors of the past, he reflects on the unresolved issues of history such as Nazism (Germany) and colonisation (Ireland and Australia).
Influenced by William Blake's poetry and art, in particular Dante’s Divine Comedy, Kinsella evokes in his poems a strong relationship between the visual and textual. On the Outskirts is a work of strangeness and alienation, but also a work in which a light of redemption is sought — a rehabilitation in the human character and the healing power of 'nature'.' (Publication abstract)
'The collection is in two parts, with each one interrogating love, loss, gender and aesthetics. The poems refract these themes through personal experience, as well as through a broader cultural lens. Some of these works are direct responses to the act of reading literature. The hallmark of this collection is precision with language: these works are always present and vivid.' (Publication summary)
T'ime and motion are undercurrents in these new poems by Sarah Day. Her subjects encompass the commonplace in the Australian landscape: the remnant beak of a raven, tree shadows in urban streets, industrial cranes and mowing-machines, as well as the exotic or peculiar: the world seed bank in Norway, artefacts in Pompeii, Graeco-Egyptian funeral portraits, the landscape paintings of John Glover, the Earth as seen from elsewhere in the Milky Way. These poems, individually and collectively, invite questions about the enigmatic nature of past, present and future.' (Publisher's blurb)
In this stunning, visionary collection, A. Frances Johnson offers cautionary threnodies that muse on environment and the endurance of theme park notions of the natural, in spheres poetic and beyond. This is a richly varied collection: among moving lyrics of loss are dystopian visions, such as the last living bird with its wings and vocal chords sludged by the oily depredations of Exxon Valdez, hummingbird drones indiscriminately raiding and killing, and hybrid bird-humans blurring the boundaries between nature and culture to survive.
'Third English language collection of poems by a Greek-Australian writer. Contains new as well as previously published work. The other two collections are 'Falcon Drinking' and 'Portrait of a Dog'.' (Publication summary)