I began 2018 with the intention of blogging at least monthly, a plan that went awry when I was seconded to another role at work in mid-March. So, this is a return to my schedule of monthly blog posts. The last few months have been busy with poetry and writing activities, nonetheless. In early July, I submitted the final edit of my forthcoming book of poems, Carte Blanche, to Vagabond Press. I was enormously grateful to friends and fellow poets who helped out in the weeks before the final edit was due. Since March, I’ve had a couple of poems published: ‘Threshold’ in The Canberra Times, ‘‘Diesel & Dust’ homestead [a landscape]’ in Otoliths; ‘Drysdale: Vaucluse, 1945’ (a terminal, responding to Ern Malley’s ‘Dürer: Innsbruck, 1495’) in Marrickville Pause; and ‘Hit Single’ in Australian Poetry Anthology, alongside the work of a number of other South Australian poets – Aidan Coleman, Jelena Dinic, Alison Flett, Ian Gibbins, Jennifer Liston, Bronwyn Lovell, Rachael Mead, Louise Nicholas, and Dominic Symes. Also, my review of John Kinsella and Paul Kane’s Renga: 100 Poems was recently published in Plumwood Mountain. On 4 April, I was a guest poet at the opening night of Adelaide’s new No Wave poetry reading series, with Alison Flett, Heather Taylor Johnson and Banjo Weatherald. In June, I had the privilege of judging and announcing three selected manuscripts (by Bruce Greenhalgh, Maria Vouis, and Geoff Aitken) and two highly commended manuscripts (by Emelia Haskey and Inez Marrasso) for Friendly Street’s New Poets 19, a new addition to – and resurrection of – Friendly Street’s important New Poets series. On 22 June, I was a guest writer at the South Australian English Teachers’ Association’s Meet the Writers Festival. And on 28 July, I was a guest poet at DARK FOLK, featuring music by Jen Lush, Go Fish and Daniel J. Towsend, and poetry by Steve Brock, Juan Garrido-Salgado and me. The songs on Jen’s album The Night’s Insomnia draw on the work of 12 contemporary Australian poets, e.g. ‘The Louder Silence’, based on a poem by Jill Jones.
In recent weeks (since my secondment ended), I’ve had the chance to resume monthly poetry workshops, and editing work. And I have new poems forthcoming in Overland and Westerly.
In terms of my reading, I’ve enjoyed and can recommend Ken Bolton’s Starting at Basheer’s, Jill Jones’ Viva the Real, Anthony Lawrence’s Headwaters, Bella Li’s Argosy and Lost Lake, Philip Mead’s Zanzibar Light, Nathaniel O’Reilly’s Preparations for Departure, and two of Vagabond Press’s books of poetry in translation – one from its Americas Poetry Series, featuring Mijail Lamas, Mario Bojórquez and Alí Calderón (contemporary Mexican poetry), and another from its Asia Pacific Poetry Series, featuring Kim Yideum, Kim Haengsook and Kim Min Jeong (poetry from Korea’s ‘Future Wave’).