Foreword: The Best Australian Poetry 2003
The Best Australian Poetry 2003, the first in what we hope will be a long and vibrant series, is a selection of 40 of the best poems published in Australian literary journals and newspapers in the preceding year. Poetry in Australia is thriving. According to my somewhat shaky mathematics, in 2002 there were exactly 100 volumes of poetry published (that’s one poetry book for every five novels) and 27 themed anthologies containing at least some poetry. Australian newspapers published almost 400 new poems (as well as reprinting some classics) and Australian literary journals published close to 1,800 poems. As the general editors for The Best Australian Poetry series, Martin Duwell and I hope that this anthology will direct readers to the poetry collections of the poets they enjoyed in this and future issues, as well as point to the literary journals that continue to publish high-quality poems.
We regret that we have not included poetry from Australian internet journals in this anthology. The decision to limit sources to the print media was based, for this year at least, on logistics, but it is possible that this might change in the future. In the meantime, I’d like to point to some websites worth looking at, including Cordite, Divan, Stylus, and John Tranter’s hugely popular Jacket, which brings into conversation poets and critics from around the world. Taking a different tack, Coral Hull’s Thylazine continues to make a case for poetry and activism, as well as provide an Australian poet directory — to which I am indebted in the course of tracking down some of the poets included in this anthology. And then there’s Jayne Fenton Keane’s Slamming the Sonnet website, which makes the most of web technology by using audio and video files to flesh out poetry and breath a little life into the critically-declared “dead” author. Last time I logged on, Queensland poet Sam Wagan Watson held his own in a cyberslam against Yeats, Plath, and Bukowski.
2002, like any year, was a time of things living and things dying. Most significantly it saw the passing of three major poets, Dorothy Hewett, Ron Simpson, and Gary Catalano. The former was always a flamboyant, larger than life figure in Australian poetry but one who showed that poetry could still embrace the large questions of public and private lives. Simpson and Catalano were quieter writers and it might be said they belong to the tradition that imported some of the values of the visual arts — especially a concentration on line — into our poetry. At the institutional level, Robert Adamson and Juno Geme’s Paperbark Press shut its doors after 17 years of publishing some of Australia’s finest poets. Shortly after, Ivor Indyk announced a new arm to his publishing house: the publication of literary works by individual authors under the Giramondo book imprint. Another birth worth noting is Ron Pretty’s revival of Poetry Australia, in this incarnation entitled Blue Dog: Australian Poetry. In Pretty’s editorial for the inaugural issue, he backs up contributing essayist Michael Sharkey’s assessment of the impoverished state of poetry criticism in Australia and puts out a call for “thoughtful pieces written about contemporary Australian poets and their work”. Which seems a good idea.
Given this discussion, then, it is no accident that we have decided to kick off the inaugural issue of The Best Australian Poetry with a guest editor who is not a poet, but a poetry critic. Martin Duwell brings to this volume his experience that comes from 35 years in poetry publishing and criticism, as well as a passion for poetry that rivals any poet’s. Presented with the task of selecting only 40 poems from over 2,000 possible poems, Duwell has created (without much fuss) a terrific collection of high-quality poems that is sure to impress dedicated readers of Australian poetry and newcomers alike. Duwell possesses that rare ability Sharkey calls for in his essay “Reviewing Now”: “the ability of read widely, without prejudice”, which struck me immediately when I read his compilation and noted the diversity of form, voice, style, and subject matter. Duwell has a critic’s eye for quality, but also an anthologist’s sensitivity as to how individual poems converse — how they confront, contradict, affirm, and question one another.
Which brings me to another matter. I began writing this Foreword — then stopped for a long while — in October 2002. It was the time of the bombings in Bali. Which is to say, I wrote this within history, which is to date it. Many poems were born of this time, and like the thousands of 911 poems before them, Bali-bombing poems whizzed around the internet and clogged open-mic readings across the country. How many of these poems will survive remains to be seen — not many occasional poems do — but their existence illustrates Denise Levertov’s assertion (quoting Heidegger interpreting Hölderlin) that to be human is to “be a conversation”. Many it seems turn to the poem when their human need for dialogue, “in concretions that are audible to others”, overwhelms them.