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Brian Edwards

That Homer Rieth is one of the finest lyric poets writing in Australia was apparent with the publication in 2001 of his collection The Dining Car Scene. Now, with Wimmera, his lyric strengths are displayed in epic form. Presented in twelve books and 374 pages, initially titled ‘A Locale of the Cosmos’, grand in conception and impressively detailed in execution, this is a significant achievement indeed, and a major contribution to Australian literature.

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All in Time by Brian Edwards & Dark River by John Jenkins

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February 2004, no. 258

Dark River is John Jenkins’s fourteenth collection of poetry (including the six volumes he has produced with Ken Bolton) and a welcome addition to his oeuvre. This new solo collection contains the wit, language play and urbane imagery we are used to from Jenkins, as well as emotional depth and an infectious delight in language. Demonstrating this are the touching love poem ‘Why I Like You’ and three key elegies, or ‘dedicatory’ poems. The first of these, ‘Long Black’, dedicated to John Anderson, opens the book. This fine poem captures Anderson’s philosophy and his way with light and landscape. Anderson, a shy poet who died at the age of forty-nine without troubling The Oxford Companion to Australian Literature, left behind three books whose cadences and unique way of writing about nature and its interconnectedness are still held in great esteem by those who are aware of his work, mainly other Australian poets. In ‘Long Black’, Jenkins (who accompanied Anderson on bushwalks) speaks to his departed companion, reiterating and questioning some of Anderson’s philosophy:

I watch the long black drink
turn in my hands. You say that
where you come from is where
you go to. You say the nothing in
everything is just nothing again.
Air fills the winter trees, but their
cold leaves can’t bring you back.

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A Tasmanian Paradise Lost by Graeme Hetherington & Other Gravities by Kevin Gillam

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December 2003–January 2004, no. 257

In the first part of his new collection, Graeme Hetherington returns to the cultural territory he presented, differently registered, in In the Shadow of Van Diemen’s Land (1999). This is the west coast of Tasmania, reconstructed this time, in ‘West Coast Garden of Eden’, as the provocative place of his childhood, an Eden after the Fall in which innocence has long before succumbed to temptation. The twenty-seven parts of ‘For Boyd’ present Boyd as the narrator’s schoolmate, a son of working-class parents who has Paul Newman looks, a careless disregard for all forms of authority, an impressive and precocious sexual appetite, and a rebel’s capacity for mischief.

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