Australian Poetry

Aptly, John Ashberry has described Robert Adamson as ‘one of Australia’s national treasures’. Since the late 1960s Adamson has been a vital presence in the renaissance of Australian poetry, both in his own work and as an editor and publisher. The immense command of his writing, its trajectory from the early postmodernist explorations of the poet’s voice and the possibilities of Orphic vision to the clear lyricism of his Hawkesbury poems, has made Adamson one of the reasons why Australian poetry, as Clive James often points out, is as good as any being written in English at the present time. And there is an extraordinary story behind the writing, which comes through in the poetry, and which Adamson now relates in Inside Out: An Autobiography.

Admirer’s of Judith Beveridge’s distinctive talent have had a long wait between collections (it’s eight years since Accidental Grace), although she has been published consistently in anthologies and journals, and poems from the central sequence of this collection, ‘Between the Palace and the Bodhi Tree’, won the 2003 Josephine Ulrick National Poetry Prize. Patience is rewarded: this is a collection of impressive poetic maturity.

The Sleep of a Learning Man is the sixth verse collection from the gifted and exacting Anthony Lawrence. He has also written a novel. The epigraph to this book gives some hint as to where the poet stands, and where he intends to go. It is from Antonio Porcia: ‘I am chained to the earth to pay for the freedom of my eyes.’ But looking is only one means to find his way, a dilemma that a number of the forty-two poems gathered here confronts.

He sang of old coins buried beneath the dunes,
to the north of the island, near the old artillery battery.
For forty years he rowed for mullet north, and south,
where the war epic motion picture was shot recently.

To the north of the island, near the old artillery battery
we played hide and seek as kids in acres of bladey-grass.
Where the war epic motion picture was shot recently
no one was allowed within a thousand metres.

Writing this on the first Tuesday in November, I am struck by how different contemporary Australian poetry is from the Melbourne Cup. There is no money in poetry, of course, and in horse racing everyone, even the horses, are much better dressed. What’s more, despite complaints to the contrary, the returns are usually better when it comes to reading poetry than spending your days at the TAB. Martin Duwell’s The Best Australian Poetry 2003 and Peter Craven’s The Best Australian Poems 2003 are dead certs, compared to the boundless unreliability of horses.

This book, says Geoff Page in his introduction, should ‘cheer up those who are prone to lament the passing of “form” from contemporary poetry’. Speaking as one who does employ the f-word now and again, I’m very glad to hear it, though I catch the note of sardonicism and think that Page rather misses the point when he writes, again a little satirically, that some ‘may complain that fourteen lines “do not a sonnet always make”‘. I, for one, am more likely to complain that a poem of roughly sonnet proportions ‘does not a decent poem make’; the sonnet (I’d say) is a means, not an end. Apart from the obvious cases of ‘straitjacketing’, of forcing a form upon such content as may be naturally resistant to it, there is the fact that too smooth a rehashing of forms is one of the things – just think of Kipling – that announces a poet as irretrievably minor. Take the Shakespearean sonnet, for example: in poets of only moderate skill, its closing couplet will tend to betray a cluck of self-congratulation.

A day spent scratching civilisation’s sores –

Amnesty calls for Urgent Action;

a ministerial mouth, mean as a steel trap

closes another deluded seeker of asylum

behind barbed wire; civil liberties

are spooked by terror; girl children

trafficked to sexual servitude –

and I’m spent too. Not even that trusty spur,

the great-grandmother of my children

dead in another camp, another winter, another story,

can prick this chilled indifference to bleed –

although my mind’s rubbed raw, my heart

is dry as yesterday’s crusts.

By the filling station on La Cienega a burger joint

somehow survives. This Sunday morning

a pink Thunderbird sags at the kerb,

and an old Studebaker, paint flaking.

Last year’s issue of Papertiger (a poetry journal on CD-ROM) contained a piece called ‘Transglobal Express’, a collaboration between Mike Ladd and outfit called Newaural Net. ‘Transglobal Express’ is an ‘audio poem’, the text of which is spoken by strangers on an Internet connection and set to a heavily percussive soundtrack. Clearly, Ladd has a fondness and flair for the unusual poetic enterprise. But I wonder, reading Rooms and Sequences, whether big ideas are too often pursued at the expense of careful composition.

Bowed from the supermarket, a week’s rations

      jumbling the plastic, I saw in shadow

my dead father. He crept the pavement, burdened

     as I am not by a lost country.