Foreword: australian poetry journal 3.2 #concrete

In everyday scale, a letter of the alphabet is usually no bigger than a freckle or an iris, and a word is not much wider than a thumbnail. The tiny components of written language are rendered almost invisible to us in our race to extract all-important ‘meaning’. But in concrete poetry, language stands in our […]

Foreword: australian poetry journal 3.1 #animal

Foreword: australian poetry journal 3.1 #animal

Humans may prefer to distinguish themselves from all other multiccellular, eukaryotic organisms but ‘humans’ live only in the philosopher’s imagination. In the minds of biologists we are Homo sapiens of Kingdom Animalia. Questions of nomenclature notwithstanding, the human relationship to animals is under the microscope in the #animal issue of Australian Poetry Journal. In addition to the myriad roles animals […]

Foreword: australian poetry journal 2.2 #art

Foreword: australian poetry journal 2.2 #art

Not surprisingly – poets being aural creatures – the #art issue of Australian Poetry Journal thrums with music. In Philip Hammial’s ‘Walk that Walk’ Afro-Cuban jazz-king Machito (Crowded Fingers) Smith thinks, along with Zelda Fitzgerald, that ‘Al Jolson is greater than Jesus’. In Philip Salom’s ‘Counterpoint with Red’ Glenn Gould guns through Bach in a triptych of waltzes showcasing the pianist’s architectural tics and copious pharmaceutical predilections. ‘The purpose of art’, Gould wrote in 1962, ‘is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity’. Always more concerned with the effects of art than the product itself, Gould argued that art’s ‘justification’ (should it need one) is ‘the internal combustion it ignites in the hearts of men’.