Anthony Lawrence is a brilliant poet whose books are surprisingly uneven: this new volume, Bark, though, is a decided success. The best of his poems are usually those which are built around a confrontation between poet (carrying a fairly heavy backpack of personal trauma) and the natural world. This can be quite explicit, as in the fourth poem of a generally comic suite, ‘Bestiary in Open Tuning’, in which a ‘five metre white pointer / ... made a pass’ at the poet swimming in ‘over a thousand, sun-shafted feet / of Great Southern Ocean’. The double meaning of ‘made a pass’ is significant: there is an erotics involved here, as well as the simple evaluative movements of a predator.

Poems 1980–2008 selects from Jan Owen’s first five collections and adds eighty pages of new poems. This is an accomplished, playful, intelligent collection which confirms Owen’s status in the front ranks of Australian poets (why is there so little criticism or commentary on her work?). It is full of angels, goddesses, older men, iconic art, imagined sex, strange fruit, flowers, trees, birds, travels through Europe and Asia – encyclopedic ideas and sinuous, crafted language.

This sixth poetry collection by Barry Hill is a fine, intense book of journeying and returns. Poems are based on pilgrimages made in the flesh (to Carrara, to Assisi, to Kyoto) and on those made in the mind as we visit works of art. But there is nothing blandly celebratory about these pilgrimages: the focus is always on the self of the journeyer. Indeed, at a deeper level, its poems are really about the experience of becoming, of being ‘drawn’. And one of the book’s central metaphors is the way there is a double process going on in the creation of the self: we emerge as human beings out of inchoate experience in the way that a sculpture emerges from stone; and, at the same time, we are shaped by the loved ones who surround us.

David Malouf’s Typewriter Music (2007) recently reminded readers that Malouf is a masterful poet. It was also evidence of an especially successful period in Malouf’s glittering career, appearing only a year after the highly praised collection of short stories, Every Move You Make (2006), and in the same year as The Complete Stories (2007). Now with the publication of Malouf’s latest Selected Poems, Revolving Days, we can see that this late efflorescence of poetry and short fiction suggests what might have been evident all along: that Malouf works best within a small frame. Malouf, who began as a poet in the 1960s, has – despite some flirtation with the epic mode – consistently shown himself to be interested in compact forms: the lyric poem, the short story, the essay, the libretto, and the novella.

In Lisa Gorton’s first collection of poetry, somewhat ambiguously entitled Press Release, light, absence and doubt are major preoccupations. The poems speak of ‘a weight of light’, ‘neon expectation’, ‘ruined cities overrun with light’ and ‘all that falling light’ – in just the first of this volume’s four sections. Light, for Gorton, is a sometimes mesmerising and often overwhelming force. Among other things, it is the illumination of nostalgia, the halo of memory and the shining-out of presence. Interestingly, it is also about culmination, often standing for various forms of – usually problematic – realisation and achievement. For example, in ‘Scald’, the poem’s persona speaks of ‘light drawn in to the idea of light, all-eye and all / forgetting, more entire than perfection’; and in ‘Guns I / Major Mitchell, 1836:’ wild birds ‘are tearing the blueblack / shadows out of the river’, as if light and life are joined in defying the ruination of death and the depredations of time. But in Gorton’s poetry light never fully escapes the dark, and in ‘Scald’ the ‘sheer of light’ is also a ‘shining blank’, while the poem’s speaker represents herself as a ‘bright / dark torso’, images in which absence, darkness and light are inextricably connected.

joanne burns: There’s a name to conjure with. The familiar lowercase signature – first encountered in my now-tattered copies of 1970s women’s poetry magazines such as Khasmik and Cauldron, and in the anthologies Mother, I’m Rooted (1975) and No Regrets (1979) – now appears on burns’s fourteenth book. An Illustrated History of Dairies offers a generous selection of her verse and prose poems, including the satires on (sub)urban life for which she is well known, condensed narrative pieces, enigmatic fragments linked by flashes of surrealist wit.