Accessibility Tools

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

Judith Bishop

Event by Judith Bishop

by
November 2007, no. 296

In her other life, Judith Bishop works as a linguist. A passionate concern with the intricacies of language, with the visceral effect of words on the tongue, aurally, and as they are knitted and unravelled on the page is manifest in her first collection of poems, Event. These poems are deeply immersed both in a complex observation of, and engagement with, the natural world, in particular with the ways in which poetic language can intervene in the world of perception, experience and desire. ‘You have to lean and listen for the heart / behind the shining paint’, Bishop writes in ‘Still Life with Cockles and Shells’, which won the 2006 ABR Poetry Prize and which Dorothy Porter included in The Best Australian Poems 2006. Like the beautiful illusions of the still-life painting, Bishop’s poetry creates an aesthetic surface which mimics the stasis of death and also harbours the ‘flutter in its flank’, the pulse of possibility visible to the attentive reader–observer. Look closely, her poetry exhorts, yield to the currents of language and image, become witness to death and life in intimate and endlessly renewing ‘events’ of struggle and embrace.

... (read more)

To touch death in this manner: if our fingertips could pierce
that airless element, the body
breathing calm within its envelope of gas …

Morning took me to the jetty.
I saw the moon jellyfish pulse toward the air:
as their edges broke that barrier, the briefest spark appeared.

... (read more)

We welcome entries in the third ABR Poetry Prize. In its short life, this competition has become one of the most prominent of its kind in the country. Poets have until December 15 to enter the prize, which is worth $2000. Up to six poems will be shortlisted in the March 2007 issue; the winner will be announced one month later. Full details appear on page 42. The entry form is also available on our website, or on request. The previous winners were Stephen Edgar and Judith Bishop. Advances was pleased to see that Judith Beveridge has included Edgar’s prize-winning poem ‘The Man on the Moon’ in The Best Australian Poetry 2006 (UQP) — one of eight poems in the anthology that were first published in ABR.

... (read more)

Life without poetry is unimaginable to me. Yet my own sense of myself as a poet has always been somewhat intermittent; or, to put it another way, I keep straying then coming back to poetry, like a prodigal child who trusts she’ll be forgiven. Those times when I’m actively engaged in writing poetry have been interspersed with quite long stretches in which I nonetheless work with language on other fronts – studying for a PhD on speech rhythms in an Aboriginal language, learning a new language (Russian being the latest) and, more recently, working on a set of prose translations from the Swiss-born French poet Philippe Jaccottet. I find there’s a wonderful sense of release and revelation in being guided by another’s voice, especially a voice as fluent, emotive and original as Jaccottet’s. My day job as a linguist with a speech-technology firm means that I also deal on a daily basis with language data – at times, two to three languages at once. I find I am a ‘globalist’ when it comes to language, and also, therefore, to poetry. I am just in love with the fact that each language brings with it a new horizon of experience; and each good poem does the same in miniature.

... (read more)

(Italian, c.17th; Kunsthistorisches Museum, Vienna)

Life breathes in this painting like a child
pretending not to be awake,

or a skink metamorphosed to a stone
but for the flutter in its flank.

You have to lean and listen for the heart
behind the shining paint,

the lips half-open, and the glittering eye.

Velvet of the night. A ba ...

ABR welcomes letters from our readers. Correspondents should note that letters may be edited. Letters and emails must reach us by the middle of the current month and must include a telephone number for verification.

... (read more)

High, bright winter’s morning: the tenements’ bare tree-antlers clattering

on each corner and the stepping black spines smooth and glossy

as mirages; framed, the scene shines as if transported to a desert, and never

... (read more)

ABR welcomes letters from our readers. Correspondents should note that letters may be edited. Letters and emails must reach us by the middle of the current month, and must include a telephone number for verification.

... (read more)

I have come to the city of Samara a second time, to visit a Russian friend I first met in St Louis. The city lies 1000 kilometres south-east of Moscow, and stands at the confluence of two wide rivers, the Volga and the Samara. Founded in 1586 as a small fortress, it now has more than one million inhabitants. The Samara region, rich in oil and minerals, is reputed to have the highest per capita wealth of any region after Moscow.

... (read more)

In the opening poem of Virgil’s Eclogues, a shepherd newly dispossessed of his farm by a soldier returning from war exclaims: ‘There’s so much trouble everywhere these days. / I was trying to drive my goats along the path / And one of them I could hardly get to follow; Just now, among the hazels, she went into labor …’ (trans. David Ferry). More than 600 years later, Poussin’s painting, Les Bergers d’Arcadie, dit aussi Et in Arcadia Ego (1638–40), takes up the theme of dispossession in a more radical key: even shepherds in Arcadia must die. The pastoral mode (taken broadly to include anti- and post-pastoral) has always enveloped threats to the pastoral idyll. John Kinsella’s The New Arcadia – with Poussin’s painting on its cover – is the final instalment of an ‘anti-pastoral’ trilogy initiated by The Silo: A Pastoral Symphony (1995) and followed by The Hunt (1998). In The New Arcadia, as in its prequels, we find the pastoral mode in full-blown crisis: in modern Australia, nature’s small misfires (viz. the goat’s ill-timed birth) have escalated into ecological disaster. In The Hunt, the farmers and their families are killed by their own tools, dying in accidents, falling under tractors, shooting themselves; in The New Arcadia, on the other hand, most of the victims are native birds.

... (read more)
Page 4 of 5