Andrew Sant

Strike one
and it will flare

as Bryant & May,
an unlikely pair of thugs,

Andrew Sant is a substantial yet somewhat elusive figure in contemporary Australian poetry. Born in London, he arrived in Melbourne with his parents at age twelve in 1962. Over the years, he has published at least eleven collections, co-founded the literary magazine Island, and been, for a time, a member of the Literature Board of the Australia Council. More recently, Sant has lived and worked in the United Kingdom, but he clearly retains links with Australia, particularly Tasmania, where he first became known as a poet. 

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 this episode of 'Poem of the Week' Andrew Sant reads 'Tamarillos'. ABR Editor, Peter Rose, introduces Andrew who then reads and discusses his poem.

This cactus looks as if, on a reef,
it could be neighbour to sponge, equally at ease
under the sea – or strange as some tentacled hydra
on the window ledge, free
of quickening leaves.

There are some poets whose works only seem to come alive when seen in the light of their other poems. Andrew Sant may well be one of these. A Sant poem, read on its own, can often seem thoughtful but rather lightweight; embedded in one of his books, given a context by the surrounding poems, it becomes animated by a set of consistent themes and obsessions.

Carphology, in case you have forgotten, is the ‘delirious fumbling with bedclothes’, as stated in the epigraph to David Musgrave’s poem of the same name, which is not about a pathology but, energetically though bleakly, about passion and sleep. The epigraph to the book as a whole is taken from Christopher Smart’s Jubilate Agno, fragment C1: ‘God be gracious to Musgrave, for he is a Merchant.’ Tongue in cheek, but Musgrave does indeed have wares and they are finely assembled configurations of words. The poems in Phantom Limb often suggest, rather than explicitly display, Musgrave’s erudition. There is a communicative ease about the enterprise, if this can be said about poems that continue to declare themselves after multiple readings. In them there are elusive depths combined with surface pleasures.

I was in the house of a friend’s parents recently and noticed, stuck to the fridge door, a poem clipped from a newspaper, among the sundry magnets and notices. Companion to book reviews, its subtleties had taken their fancy as being more than ephemera. Good, I thought, these are poetry readers – an engineer and an art teacher – who can confidently duck and weave among poems that come their way and say, yes, this one’s a pleasure. But do they buy and read collections of poetry? Well, they would more often if …

If despair and desolation can be said to have had a high point in poetry in English during the modern era, it is in T.S. Eliot’s poetry, particularly ‘The Hollow Men’. While reading Martin Langford’s remarkable The Human Project: New & Selected Poems, I was reminded of other poets whose reputations depend upon the discomforting poems they have written. The until recently neglected American poet Weldon Kees, who may or may not have jumped off the Golden Gate Bridge in 1955, wrote about the underside of the American dream, its sterility, in a tone of unwavering bitterness, but his noirish imagination and technical brilliance make the poems compelling. Something similar could be said of the English poet Peter Reading, whose expression of undiminished anger is a result of his disgust with humanity, and its condition terminal, though his pervasive self-righteousness can be wearing.

Patterned play

Dear Editor,

Reviewing my On the Origin of Stories: Evolution, Cognition, and Fiction in ABR, Lisa Gorton writes, ‘Boyd shows a troubling lack of interest in the female of the human species’ (October 2009).