As an extra addendum to my previous blog posts, it was so enjoyable to ‘attend’ the launch of Alice Allan’s book of poems The Empty Show via YouTube this afternoon (Adelaide time). The book was introduced by Jessica Wilkinson and launched by Louise Carter, with Alice then reading from the book and a lively Q&A. Like many, I suspect, my first introduction to Alice’s work was through her excellent Poetry Says podcasts: a series of engaging conversations with contemporary Australian poets. I hope Alice and The Empty Show get the ‘live/in person’ launch they so much deserve, at some future time. As I’ve written previously, a writer sending a book into the world (particularly a first book) deserves all the love and fuss that can be mustered. Congratulations to Alice: The Empty Show is an excellent book, and available from Rabbit Poets Series.
Vagabond Press has launched its new website. Vagabond’s books of poetry from Australia, the Americas, the Asia Pacific, and Europe are available directly from the website, which now includes a sample of each book. It’s been a great 12 months for Vagabond, with Natalie Harkin’s Archival-Poetics winning the 2020 John Bray Poetry Award, and Peter Boyle’s Enfolded in the Wings of a Great Darkness winning the 2020 Kenneth Slessor Award for Poetry, among others. My book of poems, Carte Blanche, is available from the website as a paperback, and a limited edition hardback.
As an addendum to my last blog post, it was very enjoyable to attend the launch of Adrian Flavell’s second book of poems, Shadows Drag Untidy, in Adelaide this evening. The book was launched by Professor Nick Jose, and follows Adrian’s 2014 book, On Drowning a Rat (Picaro Press). I first encountered Adrian’s poems as far back as 1998 or 1999. In my teenage years, The Weekend Australian’s Review served as my piecemeal introduction to contemporary Australian poetry. Nowadays, we take it for granted that the internet is a reliable source of contemporary poetry, with the proliferation of websites, online journals, and blogs over the past two decades. But in the late 1990s it was only the newspapers that came into the household regularly that met my growing appetite for new Australian poetry. It was in The Weekend Australian, and later The Age, that I first read the work of poets such as Robert Adamson, Peter Boyle, Aidan Coleman, Luke Davies, Diane Fahey, Michael Farrell, Anthony Lawrence, Jan Owen, Peter Rose, Thomas Shapcott, John Tranter – and Adrian Flavell. Times have changed: The Weekend Australian still publishes and reviews poetry, but now any teenager with an internet connection can access as much poetry as they could possibly want. Congratulations to Adrian on the launch of the book. Shadows Drag Untidy is available from Ginninderra Press.
It’s been a difficult year for launching books. And it was an enormous relief, especially in hindsight, that Aidan Coleman and I managed to jointly-launch our books of poems a few short weeks before the COVID-19 restrictions clamped down in South Australia. It was very welcome, then, to be able to attend the launch of Juan Garrido-Salgado’s Hope Blossoming in Their Ink in Adelaide last week, the first launch I’ve attended in person in many months. It was the sort of lively event we’ve felt the lack of amid our ‘Covid-winter’, even in a city and state that’s weathered the pandemic better than most. Touch wood. It’s also been very welcome, and a small compensation of the pandemic, to be able to attend events and launches interstate, albeit as an online ‘attendance’. It’s a regrettable compromise for the poets and publishers concerned – a writer sending a book into the world (particularly a first book) deserves all the love and fuss that can be mustered – but, for those of us further afield, it’s been nice to ‘attend’ in some small way, even foregoing the customary signings, and conversations. To the point, it was so enjoyable to attend the launch of Ella Jeffery’s book of poems Dead Bolt, launched by Lisa Gorton this evening, even if the setting, from my end at least, was my lounge room in Adelaide. Congratulations to Juan and Ella, and all best wishes for the success of your books, particularly in this challenging time. Hope Blossoming in Their Ink and Dead Bolt are both excellent, and available from Puncher & Wattmann.
I’ve had a long affinity with these words of the Russian-American poet and Nobel laureate Joseph Brodsky: ‘Every individual ought to know at least one poet from cover to cover: if not as a guide through the world, then as a yardstick for the language.’ In my early 20s, I developed a particular regard for a number of contemporary Australian poets whose work was synonymous with specific regions, among them were Robert Adamson (The Hawkesbury), Robert Gray (Mid-North Coast, NSW), John Kinsella (Western Australia’s Wheatbelt), and Les Murray (Mid-North Coast, NSW). Through Kinsella’s work, in particular, I found permission – at a time I needed it – to write about the farming area in the Mount Lofty Ranges in which I’d grown up, and was then living. I made a compact that Kinsella would be a poet I read – more or less – cover to cover, in the way that Brodsky suggested. It’s a compact I’ve kept, though – as Kinsella is a notoriously prolific poet, novelist, and essayist – I’m often a book or two behind his latest publication. In this way, it’s Kinsella’s work, and perhaps also that of the late American poet AR Ammons, that I’ve returned to most consistently over the past 20 years. It was very welcome, therefore, to have the chance to review two of Kinsella’s recent books for Australian journal Plumwood Mountain. Previously, Plumwood Mountain has published my reviews of Kinsella’s Graphology Poems: 1995-2015 (Five Islands Press, 2016), and Renga: 100 Poems (GloriaSMH, 2017), his collaboration with Paul Kane. Of the two recent reviews, Hollow Earth (Transit Lounge, 2019) is Kinsella’s first foray into the other world of the science fiction novel; and Open Door (UWAP, 2018) is the final book of poems in the Jam Tree Gully trilogy, an essential exploration of a central theme of his work. Special thanks to Anne Elvey, Managing Editor of Plumwood Mountain, for the opportunity to review the books. Click here for the FULL REVIEW of Hollow Earth. Click here for the FULL REVIEW of Open Door.
In the 22 August 2020 edition of The Canberra Times, Geoff Page reviews my book of poems Carte Blanche. He writes: ‘It’s satisfying to observe that the sophistication and idiosyncratic uniqueness of Thom Sullivan’s Carte Blanche have recently been recognised by the judges of the 2020 Mary Gilmore Award for the best first book of poetry in Australia last year.’ A very big thank you to Geoff for his kind words about the book. Carte Blanche is available from Vagabond Press as a paperback, and a limited edition hardcover. Click here for the FULL REVIEW.
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.
At long last, the Adelaide (‘home town’) launch of my debut book of poems, ‘Carte Blanche’, is imminent. The launch will be a joint-launch, shared with friend and long-time collaborator Aidan Coleman, whose third book of poems, ‘Mount Sumptuous’, has been published by Wakefield Press.
The full details of the invitation are as follows: You’re invited to celebrate the joint-launch of two new books of poems, Aidan Coleman’s ‘Mount Sumptuous’ and Thom Sullivan’s ‘Carte Blanche’. Join us at 7pm for 7.30pm on Wednesday, 12 February 2020, at The Wheatsheaf Hotel, 39 George Street, Thebarton. ‘Mount Sumptuous’ will be launched by Ken Bolton; ‘Carte Blanche’ will be launched by Peter Goldsworthy. Hosted by NO WAVE Monthly Poetry Reading Series, in conjunction with Wakefield Press and Vagabond Press. John Kinsella on Aidan Coleman’s ‘Mount Sumptuous’: ‘Smart, learned, and ironic, the work leads us through the artifice of art and aesthetics, confronting our cultural certainties and pre-judgements. Satire with compassion, wit with deep insight. His is a unique voice.’ Jan Owen on Thom Sullivan’s ‘Carte Blanche’: ‘‘Carte Blanche’, by its very title, welcomes the reader honestly yet artfully in; in to lucidly thought-through poems which balance virtuosity and spontaneity, sense and intellect. These are poems of a swift and convincing trajectory with a feeling for nature as well as human nature and a sense of their interactions and interconnections.’ Full details on Facebook.
I flew to Sydney for the launch of CARTE BLANCHE on Saturday, 20 July. After the launch at Mothership Studios, Marrickville, I had the chance to drive back from Sydney to Adelaide: a two-day, 1,375 kilometre (855 mile) journey by car, through the Great Dividing Range, and across the plains of New South Wales’ Riverina region and the Mallee districts of Victoria and South Australia.
Much of the journey I knew only from imprecise childhood memories (the Dog on the Tuckerbox, 5 or 9 miles from Gundagai – depending on whether you reference the poem ‘Bullocky Bill’, the later Jack Moses poem, or the Jack O’Hagan song), or through particular contemporary poems. I think of Geoff Page’s poem ‘Hay to Balranald’: ‘Heading west all afternoon the curvatures can still surprise you. / You might as well be out at sea; the skyline is a perfect circle. […] All afternoon forgetting physics / you drive into the sky.’ Or there’s Mike Ladd’s poem ‘Out of Balranald, just on dusk’: ‘Now the last light catches old fridges on their plain of resurrection – / a voice says ‘I AM’ from a burning roly-poly bush […] Kenworths and Macks in their prides / roaring down the gears through the drowse of distant towns.’ It’s an experience of a distinctively Australian Sublime – horizontal and understated, rather than vertical and imposing – as alluded to in On the Hay Plain, a radio episode about the ‘big sky country’ surrounding Hay, written and produced by Ladd. I took photos regularly during the portions of the trip when I wasn’t driving. None has any artistic intent: they were captured only as aide-mémoires. They document something of the journey and the incremental changes in the landscape: green hills, grasslands, riverine plains, dry creeks, brown rivers, river red gums, woodlands of black box and grey box, dry lake beds, sheep, cattle, roadkill kangaroos, saltbush, grain crops, a crop fire, silos, siding towns, salt flats, mallee roadsides, and semi-trailers – and kilometre after kilometre of white-lined bitumen, varying in colour from dark grey to soft grey to ochre. Of course, ‘experiencing’ a landscape while driving through it at 110 kilometres per hour is little better than watching it on TV. In both cases we sit in a comfortable chair, watching images flash past on a (wind)screen. Nonetheless.
Mascot, Sydney, NSW.
Hume Highway, Oakdale, NSW.
Federal Highway, Lake George, NSW.
The Nation’s Capital, ACT.
Barton Highway, Jeir, NSW.
Hume Highway, Coolac, NSW.
Hume Highway, Tumblong, NSW.
Hume Highway, Mount Adrah, NSW.
Morning fog, Murrumbidgee River, Wagga Wagga, NSW.
Sturt Highway, Sandigo, NSW.
Sturt Highway, Sandigo, NSW.
Crop fire, Sturt Highway, Maude, NSW.
Sturt Highway, Keri Keri, NSW.
Sturt Highway, Yanga, NSW.
Sturt Highway, Yanga, NSW.
Balranald Tooleybuc Road, Balranald, NSW.
Bridge over the Murray River, Tooleybuc, NSW/VIC.
Mallee Highway, Manangatang, VIC.
Mallee Highway, Ouyen, VIC.
Mallee Highway, Parrakie, SA.
Coming soon to The Wheatsheaf Hotel in Thebarton, Adelaide: a poetry reading by Louise Nicholas, JV Birch, Paul Turley and Dylan Rowen.