As a writer whose ‘day job’ is far removed from whatever writing I’m doing, I take some consolation from the examples of TS Eliot, Wallace Stevens and William Carlos Williams, who worked as a bank clerk, insurance executive, and physician, respectively. It’s more consoling than the thought of the countless writers whose aspirations were (and are) swallowed up by the necessary and quotidian. It’s difficult to cordon off a little energy, mental space, and time each day or across a week.
I was a relative latecomer to Spotify, but podcasts on poetry, literature, writing, and creativity are a feature of my commute nowadays. This morning’s podcast, Unpublished’s‘Consistency: the Antidote to Hustle’ (season 3, episode 12) was timely, part-practicality, part pep-talk: ‘… Working hard and devotion to your creativity, and the road to success, is consistency. And I almost would argue that it’s the smallest viable amount of work to do each day … That consistency is about showing up and doing the bare minimum, but doing the bare minimum every day.’ [at 4:47]
Good news… Vagabond Presshas 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-Poeticswinning the 2020 John Bray Poetry Award, and Peter Boyle’s Enfolded in the Wings of a Great Darknesswinning 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.
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.
There’s a special obligation on poets, I think, to know the names of things, and with specificity. Just as there’s a value in any or all of us knowing the names of those birds and plants that we find in our home environment, for example, our garden or our street. It’s part of a greater work of attention: we start to notice the comings and goings of birds at different times of the day, or across the seasons, and we begin to mark the progress of time by a plant coming into blossom, or a tree that begins to shed its bark. It’s a particularly worthwhile idea now, when many of us are spending more time at home.
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With a recent move, I’ve had to acclimate to a new home, and to a working/writing space that looks out onto a garden. I readily identified the birds that were coming and going, and the magnolias, but there is a shrub that’s been cultivated into a hedge that was unknown to me. I took a photo of it with the PlantSnap app: it’s a cherry laurel or type of viburnum, the app suggested. I researched a little further. It is a cherry laurel.
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Poetry has some role in mediating the world – for poets themselves, and sometimes for others – through words. In the Western Judeo-Christian account, the task of naming – of relating words to the things of the world – is so ancient and integral that it precedes the creation of woman: ‘And whatever the man called each living creature, that was its name.’ (Genesis 2:19) Earlier still, there’s the account of God speaking the world into existence (‘Let there be light,’ and there was light.’ Genesis 1:3), as if the world itself is the magna poema.
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At the front of the house, a New Holland Honeyeater flits from the eaves to the crossarm of the Stobie pole at the streetside. (Of course, ‘Stobie pole’ is part of a distinctly South Australian dialect and design vernacular.) In the garden, two Common Blackbirds fossick in the leaflitter beneath the cherry laurels and magnolias: the male blackbird, which is glossy black with a bright orange beak, and the female blackbird, which is in fact dull brown.
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As the southern winter persists, many of us find ourselves working from home still. And there’s a natural progression to the final hour or so of daylight that wasn’t evident while I worked in a city office. After 5:00 p.m. the light falls quickly, and the garden darkens. The blackbirds become indistinct beneath the shrubbery and, for a time, cars come and go more frequently in the lane. I usually work on for a while longer, till there’s a natural pause in whatever I’m working on, then I push back my chair, and close the laptop over. By that time, the room itself is dark, and the street lights have come on, casting a soft glow into the garden.
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.
I’m thrilled to receive news that my bookCarte Blanche(Vagabond Press) has been shortlisted for theMary Gilmore Award, for the best first book of poetry published in Australia in 2019. A big thank you to the Association for the Study of Australian Literature (ASAL) and the judges. It’s a great shortlist, and great company to be in.
In 2017, I had the pleasure of reading Australian poet Oscar Schwartz’s debut collection of poems The Honeymoon Stage (Giramondo, 2017). It’s a clever, playful, inventive, and memorable book, which I return to often. Then a resident of Darwin, Oscar is nowadays a New York-based writer, whose work has appeared in Harper’s Magazine, The Guardian, The Monthly, The Atlantic, and Sydney Review of Books. He publishes a weekly newsletter entitled Paragraphs – a series of short reflections on reading, writing, and life in New York – which I’ve come to eagerly anticipate as a feature of my week. You can read previous editions of Paragraphs on Oscar’s website. And you can subscribe to have them emailed to you weekly, as I have.
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 feature in Australian Book Review’s‘More Poetry for Troubled Times’ podcast, along with 14 others. The podcast includes readings of poems by the likes of WB Yeats, Henry Lawson, Kenneth Slessor, Gwen Harwood, Bruce Dawe, Eavan Boland, Charles Simic, Czesław Miłosz, Denise Levertov, Emily Dickinson, and my selection, AR Ammons. The podcast is available via iTunes, Google and Spotify.
The first ‘Poetry for Troubles Times’ podcast is also highly recommended. It features Sarah Holland-Batt reading Geoffrey Hill, Stephen Edgar reading Seamus Heaney, JM Coetzee reading Zbigniew Herbert, John Kinsella reading Christopher Brennan, David McCooey reading Tomas Tranströmer, and Peter Rose reading Wallace Stevens.
A full list of the readers, poets and poems for the first podcast and the second podcast is available on the ABR webpage.
It’s a great initiative from ABR in the midst of our present maladies.
