Archive

‘Academic poet’ signifies, primarily, male academic poet. So, does the adjective ‘female’ in ‘female academic poet’ more intensely qualify ‘academic’ or ‘poet’? And what happens when that female academic poet is a teacher and student of feminist theory and women’s writing? Predictably enough, her work tempts the taboo-laden conjunction of politics and poetry.

It must be said that the poems in Tierra def Fuego, the new and selected poems of Jennifer Strauss, exhibit little anxiety about either of these issues: the role of women in academia or the threat politics might offer to the lyric, Strauss’ poetic home base. The trademarks of the academic poet have an established place in Strauss’ work: the new poem ‘Life 301 – Birthday Tutorial’, for example, picks up a theme from ‘Life 101 – Lecture’ from her first collection, Children and Other Strangers, of 1975, using the classroom as a metaphor for other kinds of learning.

No icon better encapsulates the ethos of male culture than the pub. Sharing a beer in this bastion of male conviviality has been a defining experience in shaping Australian male identity. The pub as a cultural and social institution has attracted the attention of many historians, but none have considered the ubiquitous and yet mysteriously anonymous figure of the barmaid. Although represented in fiction and film, and up until recently, a part of the very fabric of pub culture, the barmaid remains an elusive figure in Australian history.

I am still puzzling over why Ross Fitzgerald and Ken Spillman chose the odd title, Fathers in Writing, for this anthology of personal essays. Because of its academic resonance, I first assumed that this book would be a scholarly analysis of father figures in literature – or, perhaps, following on from the work of certain feminist theorists, that it would look at how different valorisations of ‘fatherhood’ are embedded in language itself. Then, once I learned that this was an anthology of Australian writing, the title led me to expect a collection of extracts from literature previously published. Or, if these were newly commissioned essays, that they would be pieces in which the difficulties and pleasures of the act of writing itself would take centre stage.

A kidnapping forms the centrepiece of Alan Wearne’s Kicking in Danger, an Australian Rules mystery bearing the imprimatur of such diverse luminaries as Ron Barassi and Peter Craven. The only other football mystery I know about is Death in the Back Pocket, which failed to kick a goal, but thankfully Wearne’s tilt is much more successful. He is better known for his epic verse novel The Nightmarkets, but with this book he has shown his true colours, which are red and black. A true Bomberholic, he boasts an impressive store of club lore and trivia. In fact, sometimes the book seems to be merely an excuse for him to flaunt his knowledge and obvious love of the game.

It’s been four years since Fay Zwicky’s Selected Poems 1970–1992 was published by the University of Queensland Press in their long-running poetry series with the infamous pencil portrait covers. The Gatekeeper’s Wife is one of two books in a poetry series by a relatively new publisher. The design is reminiscent of the wonderful Cape Editions edited by Nathaniel Tarn in the sixties. Brandl & Schlesinger have established this series with Fay Zwicky and Rhyll McMaster, two of this country’s major poets. They have done well by them with these fine looking books.

A nation at war is a less than gripping tide, although it is suggestively ambiguous. Australia was at war in Vietnam for most of the decade covered in Peter Edwards’s book. In senses chiefly, but not wholly, metaphorical, it was also a society ‘at war’, divided over conscription and the commitment of troops to Vietnam. The excellent cover photograph illuminates the latter implication of Edwards’s title, as well as the importance of media coverage of both overseas conflict and domestic protest against it. A newsreel photographer looks back into another camera, and away from the policeman who is struggling to shift an inert demonstrator.

This quote from Buddha opens Tasting Salt, Dowrick’s second novel, and freedom is its main theme. But the freedom in question is of the quiet domestic kind rather than the revolutionary clenched-fist-and-anthem kind. Cordelia, preparing a cocktail party for her seventy-third birthday, suddenly finds herself a widow after fifty years of marriage to George. George’s departure precipitates a crisis of self. No longer able to define herself simply as ‘George’s wife’ or even ‘George’s widow’ she finds herself confronted by the past and unresolved questions of identity, sexuality, and gender. Cordelia’s odyssey, frequently confusing and sometimes painful ultimately brings her a modicum of joy and renewed faith.

It is a truism that poets don’t need to write their autobiography. Roland Barthes, with his ‘death of the author’, may have thought otherwise but in Barbara Giles’ new book, Poems: Seven Ages, published in her eighty-seventh year, there is no mistaking the autobiographical core.

Though neither the title nor the blurb suggests it, Poems: Seven Ages is really a ‘selected’. Giles has gone back over her four earlier books, chosen what she (or perhaps her editor, Judith Rodriguez) thinks are the best poems and arranged them in chronological order according to subject, rather than date of composition or publication. Thus we have sections corresponding with her childhood in England, her earlier married life, her mid-life preoccupations, and the poems on women’s ageing from which she has been most anthologised.