Accessibility Tools

  • Content scaling 100%
  • Font size 100%
  • Line height 100%
  • Letter spacing 100%

John Kinsella

The ABR Podcast 

Released every Thursday, the ABR podcast features our finest reviews, poetry, fiction, interviews, and commentary.

Subscribe via iTunes, StitcherGoogle, or Spotify, or search for ‘The ABR Podcast’ on your favourite podcast app.


Lake Pelosi

‘Where is Nancy?’ Paradoxes in the pursuit of freedom

by Marilyn Lake

This week on The ABR Podcast, Marilyn Lake reviews The Art of Power: My story as America’s first woman Speaker of the House by Nancy Pelosi. The Art of Power, explains Lake, tells how Pelosi, ‘a mother of five and a housewife from California’, became the first woman Speaker of the United States House of Representatives. Marilyn Lake is a Professorial Fellow at the University of Melbourne. Listen to Marilyn Lake’s ‘Where is Nancy?’ Paradoxes in the pursuit of freedom’, published in the November issue of ABR.

 

Recent episodes:


Roadkill shock rocks the pink and grey’s
galah world, this is not wordplay, or deathpuns,
until the sun goes down, shocker, blood-letter,
hit and run make-over, splatterfest and gore show,
a ‘laugh-a minute’ partner wandering about in a daze, ... (read more)

Born in Perth, I came as a boy to think of myself as a Yorkist: my summer holidays were often spent in that glittering town, and the first sound I can remember is the intransigent call of crows over the road there from the city. For entirely good reasons, the place is almost a myth to me.

In deeper and more complex ways, that territory is mythic to John Kinsella. His Peripheral Light would look very different, and much the poorer, if it were possible to subtract the mythic dimension from this book. Reading his ‘Wheatbelt Gothic or Discovering a Wyeth’, I am reminded of an essay of Guy Davenport’s in The Geography of the Imagination, in which he details how indebted Grant Wood’s ‘American Gothic’ is to mythological motifs, and how thoroughly Wood has subsumed them. Kinsella, at his best, seems to me equally adept at living with imaginative indebtedness and at parlaying it into an asset.

... (read more)

What is the comparative of prolific? John Kinsella, in this latest extension of his ‘counter-pastoral’ project, manages a tricky balancing act between the extreme givens of the bush and the fashions of art gallery and English Department. A belligerent posturing is implicit in Kinsella’s term, while there is only so far a poet can be anti-Georgics or extra-Georgics or post-Georgics before the game becomes exhausted or obvious. Nevertheless, ‘counter-pastoral’ is an extended essay that takes the pastoral concerns and illusoriness of ancient and eighteenth-century Europe and tests them against our own realities: environmental degradation, both random and systematic destruction of nature by humans, and a seeming indifference on the part of many Australians to doing anything about them.

... (read more)

Genre by John Kinsella

by
November 1997, no. 196

John Kinsella, who has made a name for himself in Australia and abroad as poet and critic/commentator, has published an extended prose sequence which his publishers describe as a novel, called Genre. It’s dedicated to Derrida, as well as Kinsella’s partner, Tracy Ryan; and it begins with quotes from Defoe (on the plague) and Dennis Hopper (on drugs). Genre reads like a kind of journal/essay with meditations on ideas of seeing, on poetry, and addiction, intercut with several narratives. ‘In the Theatre of the Imagination, all but one of the eight stages are occupied ... The Renaissance Man is writing an essay on an exhibition and thinking about his latest books on aesthetics.’ The narrator’s essay is called ‘A Public Viewing of Private Spaces’.

... (read more)

Salt: Volume 10 edited by John Kinsella

by
September 1997, no. 194

When a poet reviews a poetry magazine, it can be like walking out over a virtual minefield. I have a few more books to write before they take me out, so let me say straight away, I come in peace. These are cynical times, so maybe nobody will be taken in by this tone. After all, Salt is published and edited by John Kinsella, a highly successful poet who has established himself in record time. Let’s face it, this is poetry as strategy. As Hilary McPhee pointed out, the literary community in this country can be particularly vicious, and if anyone tries to hose that down they are having themselves on – the response McPhee got in relation to what she actually said proves the point really. It doesn’t have to be bland and polite though. There has been a lot of talk about the careerist approach to poetry lately. Ramona Koval noted at the first National Poetry Festival in Melbourne recently that some American poets have taken on this ‘professionalisation’ of poetry even down to their ‘Brooks Brothers suits and leather satchels’. Fay Zwicky replied, ‘I think careerism in poetry is contrary to how a poem comes into existence in the first place.’

... (read more)
Fremantle Arts Centre Press published its first collection of John Kinsella’s poetry in 1989, only eight years ago. ... (read more)

Lasseter, it has been said, was a strange man, admired for his unusual and innovative ideas. He told a story of being caught during a storm in Central Australia: he put all his clothes in a hollow log, stood naked until the storm passed, and was then able to don his dry clothing. Though some claim that Lasseter was at Gallipoli, he did become the source of another great Australian myth of failure.

... (read more)