Jennifer Compton creates uneasy feelings. Her monologues come from desperate people: frantic, locked out, locked in. They all have some secret and are going to tell us, if it takes subtlety or no subtlety. What saves their querulous, impossible concerns from turning into rants or whinges is Compton’s actorly control of voice. These are poems of original intent and purposive control. The shocking ... (read more)
Philip Harvey
Philip Harvey is a Melbourne poet, essayist, reviewer, and editor. His day job involves running libraries. He is the Poetry Editor of Eureka Street. His most recent chapbook is a-Z (Honeyeater Press, 2015).
Gentleman also write poems. Michael Thwaites, winner of the King’s Medal for poetry back in 1940, is resolutely old school: set subjects, square metrics, good manners. He is a quiet achiever. Even his voice is quiet, though not so quiet that you can’t hear it. Solid statements, with a minimum of flourish or divertimenti, are his rule.
Unfinished Journey: Collected Poems 1932–2004 is divided ... (read more)
A couple of years ago I attended the patronal festival at St James’, King Street, Sydney. The preacher was the Dean of Newcastle, who, after the blessing, opened with ‘Greetings from across the Chasuble Belt!’ The large congregation erupted into laughter, then settled in for twelve minutes of civil gospel. This is because Sydney Diocese, alone in the Anglican Communion, requires its clergy t ... (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 ... (read more)
Poetry as the solidifying of memory, poetry as a survivor's sanguine amusement, takes a lifetime. Louise Nicholas relates autobiography through strongly considered moments in time in The List of Last Remaining (Five Islands Press, $25.95 pb, 85 pp, 9780734051998). Her childhood is tracked by the small fears, confusions, and elations that only later feel like turning points:
&nbs ... (read more)
Speaking of the un-spoken, jokes are a smokysubspecies
This near-haiku is not so much a final definition of jokes as one definition of poetry. It shows up in Peter Goldsworthy's sequence 'Ars Poetica'. What he means is that the wordplay of jokes we make every day is a microcosm, a type and model of the more grandiose verbal surprise packages known as poems. By this measure, Goldsworthy himself is ... (read more)
Any recent ‘big picture’ church history will suffer by comparison with Diarmaid MacCulloch’s A History of Christianity (2009). That book discovers all manner of new evidence about this protean religion and opens up questions about its life in every age and across every continent. Even its subtitle, The First Three Thousand Years, wants us to appreciate that Christianity has to be understood ... (read more)
Philip Larkin at thirty-one asked ‘Where can we live but days?’ It shouldn’t take half a lifetime to learn that we have night and day, yet learning how to live with this arrangement, and that this is the arrangement, is something we keep adapting to all our lives. While not a dichotomy, night and day help form the dichotomous nature of our thinking, and inform especially the method of descri ... (read more)
Philip Harvey reviews 'A Local Habitation: Poems and Homilies' by Peter Steele, edited by Sean Burke
Once in a seminar long ago, I heard Peter Steele quote one of Winston Churchill’s more disagreeable opinions, noting that Churchill was allowed to say such things ‘because he was Churchill’. This Churchillian self-definition, or certitude, or authority, or prowess, animates much of Steele’s own writings: Steele says this because he is Steele. Nor does he need to be disagreeable to do so.
... (read more)