3 more South Australian poets, part 2/3

As promised, this is Part 2 of my offering of South Australian poets who (I think) should be known, or better known, interstate. For each poet, I’ve included details for a couple of recent publications, as well as references to poems that can be found online or in readily available anthologies.

Part 3 will follow soon.

Kathryn Hummel, poet and ethnographer

‘Each poem lingers in the liminal spaces between the erotic and the exotic, the eclectic and the electric, the enigmatic and the energetic. These poems are from here, but they tirelessly interrogate the location of here…’ – Carl Leggo, Professor at the University of British Columbia, on Poems from Here

Rachael Mead, poet

‘Empathetic without sentimentality, Mead has found all the material she needs for poetry in her own vicinity: the mutability of life, the histories that have made us, and the responsibility we bear for what we’ve done to our places.’ – Jill Jones on The Sixth Creek

David Mortimer, poet

‘Reading Magic Logic is to listen to a musical mind at work. It is a journey of cadences, the everyday and the metaphysical, smaller soundscapes as valued as larger ones.’ – Patricia Sykes on Magic Logic


3 more South Australian poets, part 1/3

My first blog post, two years ago, commented on the long-standing perception that Australian poets living in the cultural hinterlands struggle to find the same recognition as those living in the rival metropolises of Sydney and Melbourne. In response, I offered a list of 10 contemporary poets who provide a sensible starting point for anyone wanting to read more South Australian poetry. The launch of Puncher & Wattmann’s excellent Contemporary Australian Poetry anthology in Adelaide, and the celebration of the South Australian poets who feature therein, has prompted this three-part supplement to the original list.

Each part will include details for three South Australian poets who (I think) should be known, or better known, across the borders. For each poet, I’ll list a couple of recent publications, including chapbooks by local publishers Garron Publishing and Little Windows Press. I’ll also include links to poems that can be read online, or references to poems in anthologies that are readily available.

Part 2 and Part 3 will follow in coming days.

Click here for details about ordering chapbooks from Garron Publishing.

Click here for details about ordering chapbooks from Little Windows Press.

Steve Brock, poet and translator

‘A born-in-the-70s late comer to the Australian poetic scene, Steve Brock has come striding into his own with this low-key, lower-case and low-life poetry in a voice distinctly Stephenesque.’ – Ouyang Yu on Double Glaze

  • Double Glaze (Five Islands Press, 2013) review
  • Trilingual Mapuche Poetry Anthology (co-translator with Sergio Holas & Juan Garrido-Salgado) (Interactive Press, 2014) extracts
  • Jardin du Luxembourg and Other Poems (chapbook) (Garron Publishing, 2016) review
  • Poem: ‘Vanishing Point’ (Transnational Literature)
  • Poem: ‘Café Paradiso’ (Cordite Poetry Review)
  • Poem: ‘The Day I Dropped Creeley’ (The Best Australian Poems 2014)

Jelena Dinic, bilingual poet

‘Having migrated to Australia from Serbia in her teens, Dinic writes in both English and Serbian, but remains profoundly influenced by the minimalism of the postwar East European poets, none more so than the work of her great countryman, Vasko Popa.’ – Peter Goldsworthy on the South Australian States of Poetry anthology

Alison Flett, poet and publisher

‘Flett’s tightly structured, experimental text is impressive beyond her facility for stylistic variety. Woven through her tropes of encounter is the question: how can humans remember they are animals? And subsequently: can language be made to speak this fact? Can language be wild?’ – Lucy Van on Semiosphere

Update: July 2016

Thom Tom Sullivan Poet Poetry 2016

I’ve been away from the blog for a month or two, as I’ve been occupied with a few writing projects.

* * *

In mid-June, I was a featured writer at the Meet the Writers Festival, an annual festival for middle- and high-school students that’s been run by the South Australian English Teachers Association (SAETA) for the last 23 years. The festival, which was held at the Adelaide Convention Centre, gave hundreds of our State’s young readers and writers the opportunity to meet, listen to and ask questions of some wonderful local and interstate authors – much like our annual Writers’ Week. It’s an event that’s a great gift from our State’s English teachers.

This year the other featured writers were Janeen Brian, Phil Cummins, Archie Fusillo, Roseanne Hawke, Jack Heath, Don Henderson, Greg Holfeld, Christobel Mattingly, Ruth Starke and Claire Zorn – some of whom I read at school myself.

The four sessions I ran gave me a chance to talk to students about my own writing, offer some tips for writers and creators, and read a couple of poems. It was a fun day, and I especially enjoyed my conversations with young people who have the same enthusiasm for writing that I remember having as a high-school student.

You can find some very complimentary student reflections on the festival here.

* * *

Since then I’ve been editing a collection of poems for a friend and working through the final drafts (at this stage, at least) of what should become my first full length collection of poems. Once a final draft is done, the manuscript will be ushered out into the world in search of a home. And gladly – it’s long overdue (though the maturation time has been well worth it), and there’re a bunch of poems in there I’m looking forward to putting into people’s hands.

* * *

This week Australian Book Review released a set of podcasts for its national ‘States of Poetry’ project. Each podcast features an Australian poet talking about, then reading, one of their poems. You can listen to me read my poem ‘Suburban Panopticon’ here. And you can find the Adelaide Writer’s Week 2016 session featuring five of the six South Australian ‘States of Poetry’ poets here – that is, Aidan Coleman, Jelena Dinic, Jill Jones, Kate Llewellyn and me.

On the ABR site, you’ll also find new podcasts for some of my favourite contemporary Australian poets, including: Ken Bolton, Michael Farrell, Toby Fitch, Sarah Holland-Batt, Jill Jones, Nathan Shepherdson and Fiona Wright.

* * *

Finally, on 16 August I’ll be appearing as a guest at The Lee Marvin Readings here in Adelaide, along with Pam Brown (Sydney), Kent MacCarter (Melbourne) and Dominic Symes. The readings take place every Tuesday night in alternate months, at the Experimental Art Foundation’s Dark Horsey Bookshop. I well remember attending the readings when they were held at the De La Catessen Gallery in Anster Street, Adelaide, as early as 2007, so it’s been nice to become a somewhat regular guest in recent years. The readings feature the best of Adelaide’s new writing – poetry and prose. You can find the full program for the August readings here.

On “Best New Zealand Poems 2015”

Thom Sullivan Poetry Poem Poet

I’ve said it before, and I’ll say it again I’m sure: I’m disappointed, beyond the Centenary of Anzac, that we don’t use Anzac Day to better celebrate and strengthen our relationship with our close kin across the Tasman. This review of the recently published Best New Zealand Poems 2015, though late for Anzac Day, is a small offering with that in mind.

In the 2015 anthology, editor John Newton presents a broader range of poems than Vincent O’Sullivan’s 2014 selection. Where O’Sullivan favoured accessible poems, over the experimental or postmodern, Newton’s selection is more representative of the spectrum of contemporary poetry – and may well find a larger audience as a result. At the customary 25 poems in length, there are no soft edges.

As with any satisfying anthology, there’s the sense that some of the most elusive and interesting poetry is going on between the poems, not just within them. Morgan Bach’s “The Swimming Pool” opens the anthology with its evocation of “the strange verge of childhood”: that insular gloaming of long summers, swimming pools, bikes and school days. The essence of Bach’s poem is captured in the stilled image of a child jumping into a pool: it’s a moment of tension and lightness between realities – of earth and water, innocence and experience. It’s also a moment of inevitability.

Those seconds between solid earth and transparent / water, you were ageless – a flash of stasis / in which you weren’t longing to grow up.

The poem elicits a sense of childhood naiveté, but it has an existential edge: “an age where will / is unappreciated. / Compliance was no questions, drawing nice borders”. Tellingly, it’s a reimagining devoid of parental figures.

Bach’s poem is followed immediately by Serie Barford’s “The Flying Fox and Che Guevara”, a poem that resonates with Bach’s, but from an adult (and parental) perspective. It presents a world of experience – not of evil, but mundanity, domesticity and complexity: it’s preoccupied with parental responsibility (“I cared for my children like a flying fox / kept them safe under my wings”), family life, and politics – via Élio Machoro, “a South Pacific Che Guevara”. It’s a world that contrasts with Bach’s childhood idyll:

and a tongue bitten off / from a faulty landing on a trampoline / reattached in a theatre without movies // then regretted it / when a fiapoko mouth / started up again

The poem is tender and matter-of-fact. It’s spiked with self-effacing humour (“there were the retreads that outlived cars”) and earnestly aware of the transition that Bach’s poem alludes to – the inevitable coming of age: “my sons are still learning the difference / between people’s needs and wants”.

Finally, there’s Bryan Walpert’s “This Poem is Conversational”, a disarmingly sociable poem that begins in the lassitude that follows a four year old’s birthday party. A documentary playing on TV introduces a species of flightless parrot as the poem’s “useful metaphor” for the vulnerability of children. Walpert goes on:

four years being about when the kids start / to stop being the kids you thought / they might be and start being the kids they are

Like Barford’s poem, it’s a grown-ups’ world of “mortgages [and] house projects”. It’s an accessible, deceptively homely poem that’s neatly honed around its memorable central metaphor.

Belinda Diepenheim’s “Nothing New Under the Sky, 1769” offers something quite different. It imagines Captain Cook during his first voyage – to observe the transit of Venus and search for Terra Australis Incognita – a point of shared history between Australia and New Zealand (“If there is nothing new under sky […] / then I have found something new.”). It’s an intimate and understated portrait of Cook, with layerings of complexity and contrast:

I am troubled / by who occupies me when I am left alone, / a hollow opening wider between the ribs, / a lullaby to blood and rule, the scent of gods / calling from evergreens.

Cook is estranged from his homeland (his child’s face, familiar birdsong), but he’s also estranged from his immediate surroundings. There’re contrasts and contradictions between the enervating life aboard ship, and the unease generated by the unfamiliar landmass, its people and Cook’s troubled state of mind. There’s also the tangle of morality or conscience (“James! Elizabeth called. Do not forget your compass.”) and culture (“I write with a hand / schooled in reason”). The poem is also essentially personal: it’s a poem of the senses (particularly sound and smell), memory and embodiment.

Cook asks “Is this as alive as a man can get?”, but does he refer to himself – the Enlightened European on the geographical, cultural and psychological frontiers of the known world – or the “Noble Savages” he observes? There’s a seduction from, and confrontation with, something carnal and primal in himself (“I may lay down my / coat and gun, kill or mate / as I will”):

it is I in this line and ink, / clear, shaded in parts, / the curved land spread beneath my hands / as I draw mountains, insistent as the breasts / pressed beneath a man before departure, / promising eternity, / dying for the liberty of strange waters.

The poem has its tensions and speculations, but it leaves them tantalisingly unresolved. The final image (quoted immediately above) neatly resonates with Dinah Hawken’s “The Lake, The Bloke and The Bike”, which describes a bay “[c]urved as neatly as if / by a pencil in a compass”, and describes the lake of its title as having “the calm / of a dark, enlightened mind”.

As I’ve suggested, Newton’s selection also includes samplings from the more experimental or postmodern veins of New Zealand poetry. For example, Hera Lindsay Bird’s from Pain Imperatives” with its litanies and refrains (“I write this poem like a chastity belt made of bottle tops”).

There’s also Wystan Curnow’s “Episodes”, which provides an accurate (?) if offbeat plot summary of Anne Rice’s The Vampire Chronicles. A knowledge of the source material was unnecessary for an enjoyment of the poem, with its puns, pop-culture references (Alpha networkers, Kim Dotcom, “that’s so random”, etcetera) and jokes (“Whereas Khayman, he / returns to the islands” and “Lestat and Louis drink the blood of slaves from Pointe / du Lac, draining the labour pool.”). The poems of both Bird and Curnow are alive to the playfulness and enterprise of writing.

The selection’s two longest poems, along with Diepenheim’s evocation of Cook, are the most memorable. Joan Fleming’s prose poem, “The Invention of Enough”, is a compressed narrative account of a young couple’s relationship – from their first encounter in a club, to the birth of their child. At a time in which the novel enjoys a degree of popularity inconceivable to poets, it demonstrates the seductiveness of narrative, but charged with the concision and suggestiveness of poetry. The poem is – in turns – colloquial (“So now they were a thing”), tender and domestic – but emotionally compelling throughout:

He came home tired and praised her in hyperboles and his hands were flags and the wind didn’t get them. I want my life to be musical, she said. And from then on he spent the weekends singing, almost dancing, almost folding all the clothes and almost putting them away.

Then there’s Sarah Jane Barnett’s “Addis Ababa”. The poem is a faceted depiction of an Ethiopian refugee’s new life in Wellington. As in Fleming’s poem, there’s an unfolding narrative, but with distinct movements between the past and present tense (“This is how it used to be”), and variations in form. The effect is cinematic and cumulative. We see the young man in his encounters with bureaucracy, aid, prejudice and friendship:

It is cold in Wellington. I wait in the immigration office. / Every season of this year a winter, the sun a pale scar.

We also see the fissures between his earlier life, with grief and its formal customs, and a new life of tentative and pieced-together beginnings (“I learn / to put sugar in my tea, to not greet every stranger”). The young man is a translator by occupation, which foregrounds language – and, through it, memory and thought – as part of his experience of estrangement and acculturation:

He can feel new words in his mouth, others dropping away. They are tied to ground he no longer walks. He watches his thoughts for interference, when the second language disrupts the first. Proper nouns are the most in danger. He will forget the names of certain birds and the word for his local drink. He will forget the green strip where those birds once roosted. He has already forgotten the amber flash of their wings.

There are many other fine and memorable poems, including Frances Samuel’s “Life-Drawing Class” (“When I drew the river and walked into it, / those coins worked better than stones.”) and Ashleigh Young’s “Electrolarynx” (“his body / resembled a set of golf clubs in a suit”). I refer to them here briefly as an encouragement to read on.

Newton’s “vintage of 2015” does precisely what he forecasts in his introduction: it has its “moment[s] of finding something that really does it for you”, with the attendant impulse to share the discovery. As Dinah Hawken notes in “The Lake, The Bloke and The Bike”, there’re a range of interests in the world (“some are noisier than others”), but the quietness of poetry is weighted with the possibilities of transformation. Best New Zealand Poems 2015 deserves to be widely read at home, and wherever there’s an interest in the breadth of poetry being written in English.

Best New Zealand Poems 2015 can be read in full online.


  • My review of Best New Zealand Poems 2014

NaPoWriMo: a Judgment

Thanks to everyone who read, followed, liked or commented on the blog during the April NaPoWriMo project. I enjoyed reading other poets’ contributions day by day. I also enjoyed the impetus to write – even sketching a poem can have that sense of lifting the top of your head off, to borrow Emily Dickinson’s phrase. And the project provoked some useful writing: some of it within the project, some going on alongside it.

I was overwhelmingly relieved to reach the end of the month. Marshalling the time and energy to write a poem a day (even a very draft one) was exacting. I usually abide by the adage “never say never”, but this was my NaPoWriMo finale. That said, it was a reminder of the possibilities of the poem-a-day concept: AR Ammons’ Tape for the Turn of the Year and David Lehman’s The Evening Sun are fair examples .

For those who read the poems (some or all of them), I worked hard to make sure that each contained at least some phrase, image or idea that I thought would reward a reader. We’re all time-poor, with so many worthwhile things to read, and there’s a responsibility in that for any writer.

One welcome extravagance was my daily search for an “entremet” – a suggested poem to complement the one I’d posted. It threw me back into the headlights of some of my early favourite poets, Tom Shapcott and Tomas Tranströmer, as well as Michael Leunig’s breezy “Rustle Crow”.

Perhaps the most productive aspect of the project has been an emerging sense of the poetry I want to write from here – probably poems in quite a different mode, forgiving though it has been for the purposes of a project like this. So, we’ll see what comes next. I hope you enjoyed the poems, such as they are …


  • Ammons, AR, 1994, Tape for the Turn of the Year, WW Norton & Co., New York.
  • Lehman, D, 2002, The Evening Sun: a Journal in Poetry, Scribner Poetry, New York.

NaPoWriMo: Not a Disclaimer

This is, notwithstanding, a disclaimer. The title honours a 2006 article by Western Australian poet John Kinsella, entitled “Line Breaks and Back-Draft: Not a Defence of a Poem”. Despite its title, Kinsella’s article does offer a response to criticisms of his poem, “And Everyone Gathered in Objection Yet Again”. More interestingly, it offers insights into his writing process and objectives:

That’s what interests me: keeping enough of the form for it to be recognised as coming out of some kind of “tradition”, but radicalising enough to question the heritage and the need for variation itself.

April 1 is the beginning of the annual National Poetry Writing Month (NaPoWriMo) creative writing project. The project began in the United States in 2003, and asks participating poets to write a poem a day throughout the month of April. I’ve enjoyed following friends’ contributions to the project for some years, and posted a poem a day during April 2015. I’ve decided to join the project again this year, because I enjoy (and probably need) the daily discipline and the provocation to write.

So, on to my disclaimer. Like last year, I plan to post poems of 100 or so words in length, based on a phrase, image or concept that I’ve had in mind for a while, or an idea that arises during the day – or, failing that, a writing prompt from @hourlyprompts. Each poem will be a single “prose” paragraph, as that’s the way I usually draft the kind of poem I intend to write and post. All of the poems will be “very draft”. That’s the nature (and some of the attraction) of the project: a sort of “go[ing] on your nerve”, even if it’s not quite what Frank O’Hara had in mind.

The project should be as much about encouraging the reading of poetry, as the writing of poems, so I also intend to include a link to an online poem (at least) that’s in some way complementary, as an entremet.

Stay tuned for the poems…


Poetry Reading: Payneham Library

Tom Thom Sullivan Poet Poetry Adelaide 001Next Sunday, 3 April 2016 I’m featuring as the guest poet at a Friendly Street Poets Community Reading at Payneham Library. Friendly Street, which has hosted poetry readings since 11 November 1975 (that infamous date) is supported in the event by the City of Norwood, Payneham and St Peters. I’ll be reading with Russ Talbot, Cary Hamlyn, David Mortimer, JV Birch and Louise Nicholas. The reading will run from 1:30 p.m.–4:00 p.m., and will include afternoon tea and an open mic session. Full details are available from Friendly Street’s events page.

I’m particularly delighted to be reading at what is my “home” library. At this stage, I plan to read previously unread and/or unpublished poems only, with a focus on suburban settings. Community readings at Payneham Library have been well supported by poets, audiences and the library in the past, so I offer every encouragement to come along and enjoy the afternoon.