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Paul Kane

Rhetoric has a bad name. And for good reason. Not only does it suggest insincerity and verbal manipulation, it also has a strong odour of scholasticism about it. It is with some trepidation, therefore, that I turn to ancient rhetoric to urge upon you two terms I find useful in thinking about contemporary Australian poetry. I will make it as palatable as I can and hope it doesn’t choke going down. Whether it is nourishing or not, I leave you to decide.

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Götterdämmerung Café by Andrew Taylor & Russian Ink by Andrew Sant

by
June 2001, no. 231

Wallace Stevens once remarked: ‘One of the essential conditions to the writing of poetry is impetus.’ It’s a statement worth keeping in mind when confronting a new book of poems, because thinking about impetus helps us locate the concerns of the poet and the orientation of the book. Since poems are not objects so much as events, what drives a poem helps govern how it arrives at its destination – how, in fact, it is received by that welcoming stranger, the reader. Poems reveal their origins, whether they intend to or not. What Emerson says of character, that it ‘teaches above our wills’, that ‘we pass for what we are’, is true for poems as well. So it is not an idle question to ask of these books – these poets – their impetus, remembering that ‘impetus’ derives from the Latin ‘to seek.’

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Coming upon the fertile fields of Mildura after miles of dry Mallee shrub you have the sense of entering an oasis. For a writer, arriving at the Mildura Festival elicits a similar response: here, at last, is a place to be refreshed and fed, metaphorically and literally. It is a friendly and delicious affair, where writers are fêted because their work is valued and where enjoyment seems raised to a fine art. If ever writing was thought to be food for the mind, then here food for the body is regarded as spiritual nourishment as well.

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