Maria Takolander

In an excellent essay on the poetics of art criticism in this issue, Robert Nelson writes of the nature of rapturous poetic perception: ‘Suddenly the world is larger, more meaningful … one reality gives onto another and the world is seen as an extension of the ways that you might imagine it.’ HEAT consistently provides its readers with opportunities for such aesthetic insights.

The new Meanjin, edited by Sophie Cunningham, is exciting to behold. With its varied font, though, it runs the risk of being like Federation Square: striking to look at but difficult to negotiate. The small, faint font made this issue taxing to read. Perhaps younger readers, targeted by some of the content (such as the serialisation of a graphic history), will have less difficulty.

John Mateer’s Elsewhere is a collection of poems from elsewhere – other small-press publications – and about elsewhere. The book is divided into three parts: ‘Azania’, which documents Mateer’s return to his homeland, South Africa; ‘Medan and Zipangu’, which contains poems inspired by travels in Asia; and ‘Americas’, which takes the United States and Mexico as its subjects. In ‘Uit Mantra’, one of the poems in the collection, Mateer describes the poet as ‘another name for emptiness’. As he traverses the various landscapes and cultures that inspire him, Mateer acts as a cipher for both the tangible particularities of experience – landscapes, history, people – as well as the unsayable and the unsaid – the repressed, metaphysical and hallucinatory.

John Leonard Press produces beautiful books of poetry. Proof of the editor’s precise standards, L.K. Holt’s Man Wolf Man features a fine, bullet-sized insignia of a wolf man’s head after the title page. But as Leonard has shown in publishing three (out of four) first books by young Australian women poets, he is not bound to tradition. Holt’s book, with its combination of formal style and feminist obscenity, and Elizabeth Campbell’s Letters to the Tremulous Hand, which includes poems about medieval scribes and human trafficking, suggest that Leonard’s aesthetic is more radical than most. Could it be time for young Australian women poets to shine? Are these two poets among the bright young things of a Generation of ’08?

In an essay for Australian Literary Studies (ALS) exploring the modernist networks of Judith Wright and Frank Scott, Anouk Lang argues that ‘participation in modernist little magazines … was crucial to their development as writers. Publication in these journals validated their tentative efforts and imbued them with confidence to move on to further ventures.’ It is a terrific recommendation for the important role that literary journals continue to serve for writers – both emerging and established, creative and academic. ALS and Antipodes provide vigorous examples of two such journals which support the fostering and fortification of literary culture in Australia.

A number of books have been published of late that theorise the function of literature in contemporary society (a trend indicative of an anxiety about literature in public culture, which is itself worth speculating on). In Why We Read Fiction: Theory of the Mind and the Novel (2006), Lisa Zunshine argues that reading provides us with cognitive practice for our lives as social beings, in which we are called upon to interact with and interpret others. Characterisation, then, would seem to be an important component of the appeal and function of a text. Henry James recognised the importance of character to narrative long ago. In his famous essay, ‘The Art of Fiction’, he asked: ‘What is character but the determination of incident? What is incident but the illustration of character?’

As an academic teaching in literary studies, I regularly feel compelled to justify my job, particularly in the light of dwindling enrolments. Literary journals and the writers who feature in them, judging by the latest issue of Westerly, also feel pressure to defend their relevance, primarily due to their small audiences. Delys Bird and Dennis Haskell, in an editorial commemorating fifty years of Westerly, pay tribute to the ‘creative and intellectual enthusiasm’ that drives the journal and celebrate its survival in a culture they believe is becoming increasingly visually, rather than verbally, literate. Tracy Ryan, one of the contributors, alludes to a different obstacle: public resentment. Her poem ‘Curriculum Vitae’ summarises public attitudes to writers: ‘Narcissism, egotism, think the world owes you a living, / God’s gift.’ What to do in the face of such indifference and even dislike?