Does the title of this anthology, heralded by its editors as the first collection of Australian gay/lesbian/queer poetry, refer to the myth of Pandora’s pithos? Hesiod’s version of the story, which sees Pandora as the unleasher of all manner of evils on the (‘rational’/patriarchal) world, has been interrogated by feminist scholars who see Pandora in an older incarnation of ‘gift-giver’, bestower of plenitude, crosser of boundaries. Or does ‘Out of the Box’ have a more colloquial sense – ‘exceptional’, ‘surprising’? Whatever the reasoning behind the title, Michael Farrell and Jill Jones have made choices which should provoke debate (among other things) about gay and lesbian identity and community, and about the relationship between poet and reader.

In the ‘March’ section of his new collection, Laurie Duggan writes, ‘(but I am the neighbours) // (I am, perhaps, Neighbours)’. The couplet points to several things: being an Australian in England; Duggan’s persona of observant neighbour; the banality and plurality (‘neighbours’) of Duggan’s perspective. The plurality is one of many levels: Duggan’s neighbourly approach is applied not just to the physical world but to ideas, reading, poets, music, politics and history. He is, paradoxically, a neighbour to himself and his own writing.

Michael Farrell’s a raiders guide has no page numbers and no index, indicating that it is to be read as one. Farrell’s work, like that of the Language poets, draws attention to language itself rather than emphasising content or emotion: that is, language is at least temporarily estranged from meaning. Yet, like most attempted definitions, the same could be said of most poetry. Farrell’s work follows in a line from Mallarmé, some Futurist and Dadaist poets, Gertrude Stein and James Joyce, and more recent Language poets such as Ron Silliman and Bob Perelman. While another Melbourne ‘experimental’ poet, ΠO, often emphasises through vocal performance the component parts of words, Farrell illustrates this visually, often using some self-imposed constraint that calls for repeating lines and words that, in turn, break up until poems almost bubble into a centrifugal chaos. As in the language of text messaging, abbreviated words are nevertheless usually clear.