Of all the books published in the United States last year, only three per cent were of foreign origin. This year is hardly likely to be any different. So it is something of a wonder that this considerable and imaginative collection of modern Australian poetry was produced in the unlikely setting of the University of Louisiana. Professors Jack Heflin and William Ryan, who direct the creative writing program there, have a longstanding interest in international literature, and John Kinsella was the natural, if not inevitable, choice as editor of this anthology, which, with 123 poets spread over almost 600 pages, is the most comprehensive collection of contemporary Australian poetry ever published in the United States.

In ‘Late Works’, the last poem in Black Inc.’s new selection of Gwen Harwood’s poetry, a dying poet, determined to pen her ‘late great’ poems, calls from her hospital bed for paper. The nurse, misunderstanding, brings toilet paper, much to the poet’s chagrin. It is a typical Harwood inversion ...

In her short life (1891–1927), Lesbia Harford wrote hundreds of poems and a novel, took a law degree at the University of Melbourne, had love affairs with both women and men, worked as a machinist in clothing factories, and was active in the anti-conscription movement during World War I and the International Workers of the World (‘the Wobblies’). She was the quintessential modern woman of the early twentieth century.

Reading the poetry of Ania Walwicz is a little like being drawn into a trance: the density of the prose-like lines; the disorientation of the lack of punctuation; the repetition of certain words, phrases, alliterations. It is not a poetry that can be read in short bursts. Each poem is a commitment to a vision, to a mind-space explicitly shaped by the intensity and demand of Walwicz’s language. Having burst into Australian poetry with her ‘Polish accented’ voice more than thirty years ago, troubling the dominant Anglocentric view of Australian culture, Walwicz’s poetic still works to startle a reader from her comfort zone and to disrupt her expectations about what poetry is and can be.

Lisa Jacobson’s third book, South in the World, opens with ‘Several Ways to Fall Out of The Sky’, a poem composed of imperatives instructing the reader in the strange art of descent. Jacobson’s poem deliberately invokes Auden’s famous piece of ekphrasis about Brueghel’s Landscape with the Fall of Icarus, ‘Musée des Beaux Arts’, which concerns itself with the relativity of suffering. All tragedies, Auden suggests, are products of perspective: Icarus’s plummeting may be a source of anguish for Daedalus, but is a minor occasion for a passing ploughman. Jacobson challenges this divested notion of witness by engaging in acts of imaginative empathy, stepping beyond the poet’s localised purview into the broader historical sphere.