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Cassandra Atherton

Jennifer Maiden's The Fox Petition: New Poems (Giramondo) conjures foxes 'whose eyes were ghosts with pity' and foxes of language that transform the world's headlines

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Susan Midalia's Feet to the Stars references Sylvia Plath's poem 'You're', in which Plath addresses her unborn child: 'Clownlike, happiest on your hands, / Feet to the stars, and moon-skulled, / Gilled like a fish ...' This clever title foreshadows Midalia's exploration of children in the family dynamic and the use of intertextuality, which are integral to ...

Contemporary Australian poetry has a complex and ever-evolving relationship with the land, both at home and abroad. Almost twenty-five years post-Mabo and entrenched in ongoing ecological crises, Australian poets explore new ways of experiencing and defining place. Where misguided nationalism sought to limit Australian poe ...

William Carlos Williams is a genius. And he has my lover’s initials. Or rather my lover has his initials. I often eat the plums that were in the icebox. But I don’t expect to be forgiven. Not everything depends upon that. Or the wheelbarrow of promises that still lies at the bottom of his heart. My lover likes plums. The ones with the tough skins and the scarlet flesh. Not the yellow ... ... (read more)

The authors of the stories in Breaking Beauty are graduates of the University of Adelaide, which Brian Castro (a professor there) reminds us in his introduction is ‘the first and best creative writing college in the country’. However, as an advertisement for creative writing at Adelaide University, this collection has limited success. While the contributors’ biographical notes are impressive – most have published a book, and there are winners of major national awards – the quality of the stories is uneven. J.M. Coetzee’s testimonial points to this with his focus on ‘the best of the writers in this collection [who] take us outside our comfortable selves’. Indeed, some of the best – like Stefan Laszczuk’s ‘The Window Winder’ with its image of decapitated heads kissing, Sean Williams’s ‘The Beholders’ as a clever Twilight Zone-esque tale of aesthetics, and Katherine Arguile’s beautiful ‘Wabi Sabi’ with its magical realist components – are masterful explorations of the uncanny.

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Books of the Year is always one our most popular features. Find out what our 41 contributors liked most this year – and why.

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Axon’s commitment to publishing new research in creativity and the creative process is highlighted in this issue on poetry. Lucy Dougan, consultant editor, introduces its exploration of ‘how poetry constitutes knowledge; how it is made; how poets think about their work’, and one of the exhaustive questions in the academy: ‘how poetry may be understood as research.’ Like Text: Journal of Writing and Writing Courses, Axon’s open access enhances ‘the free exchange of ideas’. Since many of the same writers have been published in both journals, Axon reads like a more techno-savvy sister publication.

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Travelling Without Gods edited by Cassandra Atherton & My Feet Are Hungry by Chris Wallace-Crabbe

by
October 2014, no. 365

The title of Cassandra Atherton’s anthology, Travelling Without Gods, alludes to the particular brand of agnosticism that has run through Chris Wallace-Crabbe’s work over many decades. Journeying sans deity is evidenced strongly in the poet’s latest collection, a book which, like Atherton’s, has been published to coincide with Wallace-Crabbe’s eightieth birthday.

For a non-believer, Wallace-Crabbe’s My Feet Are Hungry makes frequent reference to Christian ideology. This is in marked contrast to a number of Australian poets – Judith Beveridge, Barry Hill, Robert Gray among them – whose work in recent years testifies to the influence of Buddhism. Wallace-Crabbe’s Christian saviour is located firmly in the historical rather than the sacred. Only mildly irreverent, the poet shows respect for a figure who sides with the disadvantaged in an era of raging commercial interest and power-mad politicians: ‘Did Roman nails deserve his blood? / Even for someone who venerates money / Here is a story of absolute good’ (‘And the Cross’).

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Voices of the dispossessed appropriate the narratives in the current issue of Westerly. The fiction in this issue is the strongest section, largely due to the originality and diversity of the writing. M.T. O’Byrne’s magic-realist short story, ‘The Day Before Christmas Island’, introduces the voice of the refugee. Reminiscent of Life of Pi (2001), the narrator and Thommo ‘pull a boy from the sea’, only to find that his siblings, at the end of a long fishing line, appear in the form of a shark and a whale and want to board their boat. Zdravka Evtimova’s ‘Happiness is a Simple Thing’ presents the retribution of the Oshav men who want ‘blood for blood’, while Shokoofeh Azar’s ‘The Woman Who Went to Stand There’ – translated from Persian – is the devastating story of a woman who waits a lifetime at the Somayyeh intersection to elope with her lover. Like Miss Havisham, her demise is charted in her decaying appearance. Finally, Mark O’Flynn’s ‘Turning the Other Cheek’ is a standout for its almost Nabokovian unreliable narration of a father who terrorises his murdering son.

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Ben Ball was born in Melbourne in 1970. He grew up in London, New York, and Sydney, and went to school in all of these places. He completed an Arts/Law degree, in Australia, ‘more or less entirely to create the pleasing symmetry B. Ball, BA, LLB’. In the United Kingdom he undertook an M.Phil in Contemporary English Literature. Ball worked in London in publishing for more than a decade, with Bloomsbury, Granta, and Simon & Schuster. He returned to Australia when he began working for Penguin in January 2006. In 2011 he became Penguin’s Publishing Director.

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