Aidan Coleman

'Metric', a new poem by Aidan Coleman.

‘The first forty years of life furnish the text, while the remaining thirty supply the commentary,’ Arthur Schopenhauer remarked in The Wisdom of Life and Counsels and Maxims. While the timespan is different, the proportions are similar. Brendan Ryan’s Walk Like a Cow, which focuses predominantly on the poet’s first twenty-five years, has been written over roughly two decades. The memoir features twenty-seven largely self-contained chapters and nine previously published poems, in a roughly chronological narrative.

Mount Parnassus remains a proscribed destination for the moment, but Aidan Coleman’s Mount Sumptuous (Wakefield Press, $22.95 pb, 56 pp) provides an attractive local alternative. Following on from the poems of love and recovery in Asymmetry (2012), this collection marks the poet’s reawakened appetite for the sublimities and subterfuges of suburban Australia, from cricket pitches ‘lit like billiard tables’ and Blue Light Discos to the flammable wares of Best & Less and the implacable red brick of ‘all-meat / towns’. As these poems and their pseudo-pedagogical endnotes show, Coleman is a keen philologist of the language of commerce. The title’s ‘sumptuous’ (from the Latin sumptus for ‘expense’) keys us in to the vital ambivalence of a poetry, which on the one hand honours the rituals of everyday consumption (‘lounging / book in hand, Tim Tams / … tea a given’), and on the other speaks to the exploitative logic of consumer capitalism (‘Take the juiceless fruits / of day labour and a white / goods salesman’s leaden chicanery’).

In this episode of Australian Book Review's States of Poetry podcast, Aidan Coleman reads 'Secondary' which features in the 2016 SA anthology.