My poem ‘Buonanotte’ has been published in Australian Poetry Anthology, the annual anthology produced by Australian Poetry, our peak body for poets. The 2020 anthology (volume 8) was edited by Melinda Smith and Sara Saleh. It includes poems by Stuart Barnes, Anne Casey, Tricia Dearborn, Shastra Deo, Toby Fitch, Jane Gibian, Dominique Hecq, Paul Hetherington, Geoff Page, and fellow South Australian poets Jill Jones, Bronwyn Lovell, Rachael Mead, David Mortimer, Heather Taylor-Johnson, and Manal Younus.
‘Literature is news that STAYS news’, as Ezra Pound wrote in ABC of Reading (1934). In many Australian states and territories, there’s an annual award for ‘enduring architecture’, meaning buildings of at least 25 years of age that are considered high quality works of architecture. At a time when contemporary architecture is often derided as faddish and elitist, these awards celebrate – and perhaps encourage – architecture that proves its importance and influence over time. As in the field of architecture, awards for literature and poetry proliferate. They’re an important means for celebrating newly published works – a benefit to the writer, their publisher and the reading public. But an award that recognises enduring books of poetry is also an attractive idea. It could be, for example, an award for a book of poems published at least 25 years ago – prioritising individual books of poems, rather than anthologies, or a particular poet’s book of collected, selected or complete poems. Such an award could be a means to renew interest in books that have unduly lapsed from public consciousness or from a wide readership, particularly if the book is out of print, or the publisher has since closed. It could also be a means to acknowledge books that have remained vital, beyond the immediate circumstances in which they were published. It would be a way to celebrate poetry that has stayed news in some sense. It’s imaginable, in many cases, that a book that didn’t garner much attention at the time it was published has nonetheless accrued importance over time, either through its influence on other poets, or in light of the poet’s subsequent work. At any rate, such an award is an attractive idea and a modest proposal.
With the outbreak of Covid-19, and the consequent cancellation of events, many poets have been left without the opportunity to showcase their new work at launches, live readings and festivals. Red Room Poetry has stepped into the breach by publishing In Your Hands: A poetry collection for isolated times – a free digital anthology of 80 poems by Australian poets whose recent or forthcoming books have been affected by the pandemic. My poem ‘Brag or Bait’ is included in the anthology. Also included are poems by several of my stablemates at Vagabond Press – Melinda Bufton, Toby Fitch, Natalie Harkin, Lucy Holt, and Jessica L. Wilkinson – and poems by a number of fellow South Australian poets, including Juan Garrido Salgado, Jill Jones, and Em Konig. All told, In Your Hands is an excellent snapshot of, and showcase for, Australian poetry now. You can download In Your Hands for free from the Red Room Poetry website. You can also replay the anthology’s live-streamed launch on Red Room’s Facebook page. The launch includes readings by 12 of the featured poets.
I’m delighted to have my poem ‘Cut’ published in the newly released The Sky Falls Down: An Anthology of Loss. The anthology includes work by 89 writers – both poetry and prose – including poems by Ali Cobby Eckermann, Adrienne Eberhard, Quinn Eades, Lucy Dougan, Kevin Gillam, Alex Skovron, and fellow South Australian poet Jules Leigh Koch. Editors Terry Whitebeach and Gina Mercer have been at work on the anthology since at least 2014, and it’s recently found its way into the world. The Sky Falls Down (308pp) is available from Ginninderra Press.
A few of the books I enjoyed reading, or rereading, in January 2019:
- Patrizia Cavalli’s My Poems Won’t Change the World: a selection of Cavalli’s poems from 1974’s My Poems Won’t Change the World through to 2006’s Lazy Gods, Lazy Fate, edited by Gini Alhadeff, with translations from the Italian by Alhadeff, Jorie Graham, Kenneth Koch, Susan Stewart, and Mark Strand (poetry: Penguin, 2007).
- Pablo Neruda’s The Captain’s Verses (Los versos del Capitán): translated from the Spanish by Donald D. Walsh (poetry: New Directions, 1972).
- Autumn Royal’s She Woke and Rose (poetry: Cordite Publishing, 2016).
- Clare Nashar’s Lake (poetry: Cordite Publishing, 2016).
- John G. Trapani Jr’s Poetry, Beauty, and Contemplation: The Complete Aesthetics of Jacques Maritain (philosophy: Catholic University of America Press, 2011).
- Albert Camus’ Selected Essays and Notebooks (essays: Penguin Books, 1970).
- Franz Wright’s Earlier Poems: a selection of Wright’s poems from 1982’s The One Whose Eyes Open When You Close Your Eyes through to 1995’s Rorschach Test (poetry: Alfred A. Knopf, 2007).
A few practical ideas for getting (a little more) poetry into day-to-day life:
- Keep a book of poems on your bedside table. Reading a poem or two at bedtime is a vastly better prospect than falling asleep halfway through the next chapter of that novel you’re reading. A poem or two is a perfect nightcap for those who sleep alone; for those who don’t sleep alone, there’s Pablo Neruda’s The Captain’s Verses (Los versos del Capitán), a collection of the 20th century’s most ecstatic and passionate love poems.
- Keep a book of poems on your coffee table, or wherever it is you sit down to drink your cup of daily grind. Poetry is a perfect companion for good coffee, good food, good wine and good company, even if ‘company’ means a few quiet moments by yourself.
- Print out a favourite poem and put it on your fridge.
- Carry a small book of poems with you. You’ve got a spare minute or two? Your lunch date is running late? Why pull out your phone, when you can flip open a book of poems instead?
- Use poems as part of your mindfulness practice. Read a poem. Be attentive to the words: their meanings, their sounds, their feel in your mouth, the rhythm of your breath, the resonances or reminiscences, the textures of the book or page… Choose a word or phrase that speaks to you. Carry that word or phrase with you during your day.
- Write a few lines from your favourite poem or song on a bookmark.
- Read a poem to your kids at bedtime. Anyone for Dr Seuss? All those nursery rhymes you remember from your childhood? They’re all poems.
- Sign up for Poetry Foundation’s Poem of the Day. We’re all busy people: why not have poems sent straight to your device of choice? The Poetry Foundation site has a wealth of resources, including poems for children and teens, audio poems, information about poets and schools of poetry, collections of poems by theme, and guides for poetry newcomers.
- If you’re keen on Australian poetry, try the Australian Poetry Library. The poems can be browsed for free. The site also enables you to save poems to a personal selection, which you can download or email for a small copyright fee. The poems are searchable by title, author, theme and form. Looking for somewhere to start? Try the poems of David Malouf, Judith Beveridge or Thomas W. Shapcott.
If you’re new to poetry and don’t know where to start, try getting hold of an anthology of contemporary poetry from your local library or bookshop.
What is a poetry anthology? It’s a book that includes poems by a variety of poets, rather than just one poet. Anthologies often have a particular theme (e.g. Harbour City Poems: Sydney in Verse), or focus on a particular place and/or time (e.g. The Best American Poetry 2018, or The Forward Book of Poetry 2019), or present a survey of poetry over time (e.g. The Norton Anthology of Poetry, which includes poems in English from the 7th century to the present, or Australian Poetry Since 1788, or Puncher & Wattmann’s Contemporary Australian Poetry).
Why an anthology? Because an anthology includes poems by a variety of poets, though usually only one or two poems by each. This helps you get acquainted with a range of poems, in a range of styles, with a range of themes, and by a range of poets. It increases the likelihood you’ll come across poems you enjoy. As you read the anthology, trust your judgment on which poems you like or dislike, enjoy or don’t enjoy, are engaged by or not engaged by. Follow up on the poems you like best: see if you can find more poems by those poets online, or try getting hold of a book of poems specifically by that poet.
Why contemporary poetry? Because contemporary poetry, meaning poetry from the 20th and 21st centuries, generally uses words and syntax that are familiar to us – in contrast to Shakespeare’s Sonnet 20, for example, which reads: ‘And for a woman wert thou first created, / Till nature as she wrought thee fell a-doting.’ There’s a good argument for reading Shakespeare’s sonnets, but if you’re new to poetry, why not start with something closer to home, in terms of what a poem describes and the way it uses language to describe it.