‘Poetry is a long apprenticeship,’ says Toby Davidson at the start of his first collection. He is certainly a poet who has mastered far more than the basics. Beast Language is only seventy-seven pages long, but feels far more substantial. Davidson has travelled a long way: from west coast to east, from novice to scholar ...

In The Resistance to Poetry (2004), James Longenbach claims that ‘Distrust of poetry (its potential for inconsequence, its pretensions to consequence) is the stuff of poetry.’ The Australian poet Laurie Duggan has based a career on a creative distrust of poetry, or at least a certain kind of attitude to ...

It’s simple. A young woman, her love for her partner slipping away, looks at their suburb, and him, and their relationship, and writes bronze-clad poetry about it. Then she takes to the bush, describing its towns and picking at its history with the same clear eye she uses to examine her lost love. She combines a photographic exactness with a resounding turn of phrase and an ability to use a refrain just enough and no more.

The camera ottica in the epigraph to Hotel Hyperion alludes to Lisa Gorton’s artful play with shifting perspectives in this luminescent collection of poetry. The reader is invited to put her eye to the lines of poetry as if to a Galilean telescope or ‘perspective tube’. By looking at the poems through the peephole as ...

Australian Poetry Journal, the flagship publication of Australian Poetry, contains a veritable who’s who of Australian poets. However, this doesn’t mean that the journal is part of the poetry gangland to which some other contemporary Australian journals belong. This is a testament to editor, Bronwyn Lea, who must disappoint many poets – possibly even poet friends or acquaintances – in order to maintain the journal’s impressively high standard. While there are a bevy of famous names on the contents page, Australian Poetry Journal only publishes the best work from these poets and scholars. But it is not just a journal for established poets and poems; emerging poets Davina Allison and Carmen Leigh Keates effloresce in this vaunted company.|

First, I will bore you with some Chris Wallace-Crabbe statistics. Born in 1934, he has thirty-three ‘new’ poems in his New and Selected Poems, which is an average of about seven poems a year since his last volume, Telling a Hawk from a Handsaw (2008). That is a lot of poems for the second half of a poet’s eighth decade, a time when many run dry. The ‘selected’ part of this volume draws from fourteen volumes (he has 681 poems on the Australian Poetry Library website). With earlier volumes, he has sometimes selected as few as two or three poems from each. With later volumes he has been less strict. For example, from the forty-three poems of For Crying Out Loud (1990) he has included eleven in New and Selected Poems. But in making this selection he has omitted some very good poems, which are worth preserving, such as his ten ‘Sonnets to the Left’ from I’m Deadly Serious (1988).