Poetry

William Carlos Williams once famously stated, ‘No ideas but in things’, about his poetic method. Rose Lucas, in her first poetry collection, Even in the Dark, takes up the imagist movement’s poetic style but ‘makes it new’ in her examination of the role of the poet in both the local environment and abroad. Her observant and mimetic style shimmers in a collage of confronting still-life portraits. In the opening poem, ‘Heat Wave, Melbourne’, the death of a possum – ‘her young / still alive in the pouch, / squirm and cling / to the dead fur / to each other’ – is juxtaposed with a tragic Darcey-esque West Gate Bridge moment when a father ‘unbuckles his small child / from the back seat / and / then / in the rush / hot / as she falls / through sky and / slick of water –’.

This is one of the more vital and significant poetry anthologies to appear in Australia. It has been compiled with a purpose as sophisticated and complex as the arguments for existence that it posits. It is an anthology not so much of ‘region’ (it is a rather massive one), as of the experience of being or having been from Asian heritages in contemporary Australia.

Australia is one of the most urbanised and docile societies on earth, but its cities are hemmed in by a vast, poetry-laden hinterland. There is Kinsella in the west, Adamson on the Hawkesbury, and, in this book, the western Queensland of B.R. Dionysius. No one ever seems to be matter of fact about the landscape in Australia. It is politically charged, or Gothic, or, most often, mythopoeic. Dionysius’s book is all of these but mostly mythic: it is a murky, flooded, uninsurable world that he depicts, with the Bremer River as its resident deity.

Private Eye said of Stephen Spender that he wasn’t so much famous as that he knew a lot of famous people. They might have said the same of John Hayward. His editorial and scholarly work notwithstanding, it’s doubtful that a biography of him would have been written had it not been for his close friendship with the premier poet of the twentieth century, T.S. Eliot.

Judy Johnson’s sixth collection of poetry brings us a strong range of closely observed, powerful poems. As the title suggests, they are all linked together by elemental themes: the apparent solidity of stone, the persistence of scar tissue, the promises of air, and the complex gifts of water. In their often very ...

It’s not just history that is written by the victors, but the encyclopedias, too. The eighteenth-century encyclopedias, such as Diderot’s Encyclopédie, were the projects of emergent superpowers, evidence of both the Enlightenment dream of universal knowledge and burgeoning colonial impulses ...

Some things just don’t appear to go together, unless you are good at puzzles. A fox, a goose, and a bag of beans, for instance; or maybe a wolf, a goat, and a cabbage. Then there are Australia, love, and poetry. Australians and poetry can’t be left alone together, can they, and don’t expressions of love ...

Seen through one window, Paul Hetherington’s Six Different Windows appears to be a collection of poems concerned with the death of art. Such a theme is perhaps not surprising given that Hetherington, in addition to his seven books of poems, edited three volumes of Donald Friend’s diaries for the National Library of Australia, the last of which was shortlisted for a Manning Clark House National Cultural Award in 2006.