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Australian Poetry

noun Stack of Books 2157520

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Recent:

sparrow strung up
one foot knotted
in an accidental
backyard trap

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Sack by John Kinsella

by
March 2015, no. 369

The eponymous poem in John Kinsella’s latest book recounts a group of teenagers witnessing a sack being flung from a speeding car. The sack, they discover, is filled with tortured kittens. This shocking poem of human cruelty begins a collection concerned with Kinsella’s great themes: the degradation of the environment, human violence (particularly towards animals), and the potential for language – especially poetry – to represent, and intervene in, those things. Despite the extraordinary variety and output of Kinsella’s career so far, his works (poetry, novels, translations, plays, short stories, autobiographies, works of criticism) share a single, ambitious project: to imagine a relationship between political action and literary speech.

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They are stored in a box,
jewelled eggs:

The lover who says I’m sorry, I just
don’t want you anymore.
I woke up and the light
had gone out.

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I’m inclined to say poems are triggered, or ‘arrive’, rather than they’re the fruit of inspiration. The poem does have to be written, which is in itself craft. The best poems may need a little tinkering, but on the whole I’d rather not labour away at a sow’s ear. (Though I should say I value a real sow’s ear above a silk purse.)

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Seeing people who remind you
just a little of the dead
is always mildly disconcerting –

something in the face, the gait,
the shoulders from behind,
those likenesses that don’t surprise

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The sudden blush on us        you move
as wind sweeps across blue water
you move       the clouds

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for C.                 
                                        d, undrilled
                                     rock
    Had it been
wanted                       how had  

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‘Lending printed eloquence to a poem’ comes from ‘Alas’, Chris Wallace-Crabbe’s elegiac tribute to Seamus Heaney. There is eloquence aplenty in this fine collection of more than a hundred and twenty poems edited by poet Geoff Page, someone who understands that eloquence speaks in many tones and in various formal structures. This variety is generously represented here, even if, as a result of Page’s allegiance to ‘a broad church’ of Australian poetry and his wish to represent its full range of tendencies in a way that will speak to a congregation of ‘average reader[s]’, the collection treads lightly in the realm of experimental or avant-garde poetry.

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Lesbia Harford would have been interesting to meet, because of her unconventionality and political views, in addition to the poetry. Earlier, Percy Shelley, for similar reasons.

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Libby Hart’s new collection is ornate and knotty in a way that the reader would never divine from its cover, which is clear and white, with ‘wild’ in plain green typescript. It is essentially a bestiary, with birds of all kinds, as well as other creatures, including humans, in wild places, blown by winds and salt spray, or bringing wildness to ‘settled’ human habitations. There is a kind of emulsion of the direct and the opaque in her style that makes the mythic, fabulous elements appear to flow out of nature, directly, but in fact it is more as if we were in a wunderkammer of natural history, where the labels on the exhibits go beyond the call of duty and try to tell us everything about everything.

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