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’.

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issue 2 volume 2 2012

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’ – a fire that Peter Lach-Newinsky’s poem, ‘Ode to Joy’, extends to the hearts of women who hummed, in solidarity, Beethoven’s ‘bright other half of humanity’s dream’ in Tiananmen Square and outside the gates of Pinochet’s prisons.

‘Phrases hungering for another’s art’ – as Kevin Gillam calls the ekphrastic impulse in ‘Figue’ – stand at the heart of many poems gathered here. In ‘Gallery’ Mike Ladd wants to step into a painting by Camille Pissaro, circa 1901, to walk through a foggy morning, pink and blue, along the Seine. He’d warn women in black shawls that ‘the Wars were coming’ but ‘no one would listen’. Dispensing proprieties Brenda Saunders plonks herself inside Edward Hopper’s Room in New York and ‘tinkles a few notes’ on the piano, while Mark Tredinnick settles behind Matisse’s eyes to study ‘the lazy phrase’ of his model displayed across the sofa: ‘Every piece of the carnal world’, he observes, ‘takes the shape of a question’. Meanwhile in ‘Schmerz: An Exhibition’ Susanne Gannon interrogates the artsy idea that ‘pain builds community’ as she walks through a Berlin gallery housing, among other horrors, Marina Abramović’s ‘cutting edge’ performance in which she carves a star into her belly. Interleafed among European greats, the shock of the local arrives in Caitlin Maling’s ‘At the Ballarat Art Gallery’ – yet even Nolan’s Leda, it must be said,has its origins in the elsewhere.

As for the state of our art form – poetry – it appears to be marked, at least by these poems, by a sense of absenteeism: Davina Allison laments the absence of poets in her distressed address to the abused boys of St Joseph’s Industrial School in Ireland’s Letterfrack; Rosanna Licari finds Umberto Saba locked in silence on a footpath he once walked in Trieste; and Andy Jackson’s ‘Edith’ shrinks poets to something we talk about when ‘the dreadful silence’ presses in. With ‘The Perfect Malware’ Christian Bök returns to the pages of APJ with a tour de force that splits the nucleus: ‘What can poetry imagine’, he asks, ‘when poetry itself has gone extinct?’ But Bök’s black view gleams in the dark – ‘Let the death of verse be dated by the half-life of uranium-238’ – advancing a calculation that grants the poem another 4.47 billion years.

In ‘Francis Webb at Balls Head’ Robert Adamson constructs an arresting portrait of one of Australia’s greatest poets, whom Sir Herbert Read also deemed ‘one of the most unjustly neglected poets of the [last] century’ – an unhappy charge Adamson is bent on remedying in his ‘Spotlight on Francis Webb’ here and his criticism beyond these pages. In ‘Framing the Scene’ Kate Lilley looks at new books by Julie Chevalier and David McCooey; while in Stuart Cooke’s ‘Bright Nodes of Colour’, Lilley – through an unavoidable reshuffling – finds herself under review alongside Peter Rose. APJ’s resident critic, Martin Duwell, returns with a study of the ‘towering’ if ‘uncomfortable’ presence of John Shaw Neilson and finds Australian poetry’s most famous orange tree as luminous as ever.

In the previous issue of APJ David McCooey surveyed the digital world of poetry apps: in this issue Kerry Kilner and Angela Gardner look at the more tangible and fragrant world of artist’s books – from William Blake to Chris Wallace-Crabbe – as embodying the twin concepts of the book as text and the book as object. Fiona Scotney’s interview rounds out the issue with Laurie Duggan’s frank recollection of his poetry-writing days in Ken Bolton’s dilapidated cottage in Coalcliffe, New South Wales – which links serendipitously to Iman Mersal’s gorgeous poem, ‘The Idea of Houses’: ‘Let a house be a place whose bad lighting you do not notice’, she writes making a case for poetic vision, ‘a wall whose cracks widen until one day you begin to think of them as a substitute for doors’.

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Australian Poetry Journal forewords
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Foreword: australian poetry journal 2.1 #technology

There are two types of people, I once wrote in a poem that riffed on the classic binary: those who are turned on by cutting-edge technology; and those who warm to it only after it is obsolete. The latter, the poem continues, ‘often exhibit great affection for manual typewriters and vinyl records’. Of course, the human relationship to technology is infinitely more varied than this construction would allow, yet it is not unreasonable to speculate that Luddism, as a viable response to our machine-mad world, is in dramatic decline.
Technology (from the Greek tekhnē, meaning ‘art, skill, or craft’) refers to both the tools by which we live – computers, televisions, cars, pianos, pens, heart monitors, fertilizers, machine guns – and the thinking behind them.

volume 1 issue 1

2012

There are two types of people, I once wrote in a poem that riffed on the classic binary: those who are turned on by cutting-edge technology; and those who warm to it only after it is obsolete. The latter, the poem continues, ‘often exhibit great affection for manual typewriters and vinyl records’. Of course, the human relationship to technology is infinitely more varied than this construction would allow, yet it is not unreasonable to speculate that Luddism, as a viable response to our machine-mad world, is in dramatic decline.

Technology (from the Greek tekhnē, meaning ‘art, skill, or craft’) refers to both the tools by which we live – computers, televisions, cars, pianos, pens, heart monitors, fertilizers, machine guns – and the thinking behind them: information technology, music technology, biotechnology, medical technology, and so on. Technology influences not only how poets generate and compose poems –  NASA’s ballpoint pen or an Apple computer – but also the modes and processes by which we distribute and consume them. Paradoxical by nature, poetry is at once our most low- and high-tech of literary arts. For millennia poetry has lived with little more than the human body as its instrument (and warehouse), yet while other literary artforms – the novel, say, or the play – struggled to imagine a home in an online world, poetry logged on, making easy concessions and tweaking software to its design and purposes.

Ideally, an initial reading of the poems in this (or any) issue of Australian Poetry Journal would be unencumbered by a thematic frame so that the poems may be appreciated for their full spread of ideas and refracting nuances. Later readings, with the theme held in mind, might then open the poems to additional interpretations. Some poems in this selection are pointedly concerned with technology (or its lack): John Carey’s ‘Money’, for instance, laments currency’s sonic shift from the concrete jingle of coins and rustle of notes to the abstract and super-silent highways of electronic transfers; Amy Brown’s ‘Lungs Like Birds’, takes consumption – that merciless killer of nineteenth-century poets – as its subject and stages a ‘miracle cure’ (long before the advent of antibiotics: the greatest life-saving technology in the history of modern medicine); while John Kinsella’s ‘Grantchester Genetically Modified Plough Play’ – which will be staged in Cambridge around the time of this issue’s release – employs a plough-play in verse (traditionally performed in fields by farmhands) to skewer biotech giant, Monsanto, who has been busy making machines of our food.

Other poems only glimpse the theme: Dominique Hecq’s ‘Portrait in Conversation’, for example, is principally a rumination on angel wings, but its conversation is triggered by a print reproduction of da Vinci’s Annunciation. Likewise, technology in Cameron Fuller’s suburban pastoral, ‘Stress Fractures’, is present only as soundtrack – the groan of a lawn mower, distant sirens after a fight – to the poem’s main event of memory and self dissolution. Sometimes technology makes its way into a poem only to nestle as a curio inside the line: there’s an AK-47 in Geoff Page’s ‘Archetypes’; a rifle in Mal KcKimmie’s ‘Twins’; a Heckler & Koch in Ron Winkler’s ‘And Later On’; and magazine debris, shells, and shrapnel in Sudeep Sen’s stunning ‘Kargil’ poem, set ten-years on from the India-Pakistan conflict of 1999. Likewise, instruments of malice are showcased in Mike Ladd’s ‘Museum of Memory’, and elsewhere technology detritus shows up in Julie Maclean’s ‘Farina Farina’ with ‘the shell of a Holden’ nudging the ‘corrugated lean of a water tank’. For some readers, Ron Winkler’s ‘Berlin’ will be seen as a technology-free haven, but only to those unburdened by the responsibility of keeping a city lawn watered and green.

In the half year since APJ’s inaugural issue, we have received word of approximately 75 new poetry titles (unfortunately more than we could ever hope to review here). In ‘Forensics and Makeshift Rafts’, Michael Sharkey admires the technical achievements of three new collections: The Raft by Leopold Hass (editorial paranoia compels a nod to the pseudonym); Kingdom Animalia by New Zealand poet and botanist, Janis Freegard; and The Welfare of My Enemy, which Sharkey upholds as Anthony Lawrence’s most admirable collection to date. Jaya Savige sizes up the Geoffrey Lehmann and Robert Gray treasury, Australian Poetry Since 1788, with an eye to learning ‘from whence we came’ – not from Queensland he concludes (among other things), having done the sums – and logs a request for greater accountancy in the ‘wild ride of the poetry stock-market’. In ‘McAuley’s “Lame Lyre Nets”’, Martin Duwell reviews a recent title in poetry criticism: The Sons of Clovis by David Brooks, whose detective work unearthed a French hoax – Les Déliquescences by ‘Adoré Floupette’ – as a likely precursor to the amaranthine Ern-Malley stunt. Finally, David McCooey’s feature article, ‘Poets, Apples and Androids’, surveys the latest offerings from the world of iOS poetry applications – in which poets and readers alike are described as ‘users’ – and speculates on the future of avant-garde poetics.

We live in an age captive to – and captivated by – technology. But not everybody is entranced. In ‘Success Kid Says What’, Liam Ferney writes: ‘if the future is twelve-lane / thoroughfares through downtown / & forty foot of engineered landscape / from pavement to doorway’ – as it appears to be in Beijing – ‘then I’ll check out yesterday’. With green technology still in its infancy, the question of our age is how to fuel our machines into the future. Cameron Fuller’s ‘Peak Oil Hour’ contemplates the ‘final tank of fuel’, while the small boys at the end of Ross Donlon’s ‘Midsummer Night’ look into a thousand years of shadows and cry, more diesel. More diesel.

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Foreword: australian poetry journal 1.1 #beginnings

‘Beginning is not only a kind of action’, Edward Said remarks in his celebrated book on the subject, ‘it is also a frame of mind, a kind of work, an attitude, a consciousness’. To be alert to a beginning is to be aware of departures and entrances: to be filled with the promise of what is to come. But to ask where a poem begins is to encounter a series of questions. Does a poem begin, thinking concretely, with its first line? Does its beginning proliferate with its peritexts: title, epigraph, dedication, subtitle? Does a poem begin the moment a body sits down to write it, or is there some other secret point at which the thought that impels the poem first came into being?

issue 1 volume 1 2011

‘Beginning is not only a kind of action’, Edward Said remarks in his celebrated book on the subject, ‘it is also a frame of mind, a kind of work, an attitude, a consciousness’. To be alert to a beginning is to be aware of departures and entrances: to be filled with the promise of what is to come. But to ask where a poem begins is to encounter a series of questions. Does a poem begin, thinking concretely, with its first line? Does its beginning proliferate with its peritexts: title, epigraph, dedication, subtitle? Does a poem begin the moment a body sits down to write it, or is there some other secret point at which the thought that impels the poem first came into being? Did Paul Hetherington’s poem, ‘A Norse Greenlander, 1450’, for instance, begin as he sat (I’m guessing) at his desk in Canberra, or did its authentic beginning manifest in the arctic circle some 500 years ago when a cold-weary woman sharpened her scythe and contemplated another frozen harvest.

Perhaps, to take an airier view, a poem does not truly begin until a human mind hits upon it and permits language to animate its neurons. The poem as a cognitive act depends on a host to arouse it from the dormancy it slips into between readings. But what then do the anarchic practices of reading – rarely do we read books and authors in chronological order – do to a poem’s antecedent beginnings? Some readers will, for example, encounter Pauline Reeve’s ‘After Akhmatova’ before reading the Russian poet who inspired it. Alex Skovron’s ‘The Attic’ enters truly uncanny territory with his idea of a translation predating the original: the unacknowledged translator in Skovron’s poem stores manuscripts in the dusty corridors of his attic, never to consult them until ‘the original, in its first language, appears / in some quarter of the city’.

Stranger still, it’s conceivable – to consider Christian Bök’s Xenotext experiment – that a poem will enact an alternate beginning beyond the human field. Using a ‘chemical alphabet’ Bök’s project is to translate his poetry into sequences of DNA he will implant into the genome of Deinococcus radiodurans, an extremophile bacterium so resilient it can live on the surface of the moon. The protein the cell produces in response will form a second comprehensible poem. This marriage of language and microbiology is not without precedent: in 2003 scientists inserted a DNA translation of ‘It’s a Small World’ into D radiodurans to demonstrate that the bacterium could be used to store information in the event of a nuclear catastrophe.

No poem, however much it might deviate or even mutate, can stand completely outside a tradition. Yet not all antecedents to a poem, it must be said, are necessarily born of literature: Brenda Saunder’s ekphrastic ‘Art of Travel’ begins inside the paintings of Manet and de Hooch; Margaret Bradstock’s ‘Bali Hai’ pays tribute to the late Margaret Olley; and Michael Sharkey grounds his ‘Ancestors’ poem in the staged grammar of nineteenth-century photographs.

The proposition that a poem’s meaning is to be found in its antecedents has long been a topic for debate in literary criticism. In ‘Questions to Answers’, Bonny Cassidy considers news books by Elizabeth Campbell, Ali Alizadeh, and Libby Hart in context of their earlier works. David McCooey, in ‘You Can’t Be Serious’, traces Ken Bolton and joanne burns’s present-day poetics to a beginning in the fight and footle of 1968. And in ‘Re-entering Bloomland’, Martin Duwell assesses Harold Bloom’s reassessment of his theory of influence in which so-called ‘strong poets’ attempt to make space for themselves by emulating and corrupting their poetic parentage.

But this is not to suppose we can do without the concept of a beginning. Moments of becoming, as moments of departure, are crucial to the construction of meaning in our lives – though at times the two might appear difficult to differentiate. As TS Eliot says in ‘Four Quartets’: ‘What we call the beginning is often the end / And to make an end is to make a beginning. / The end is where we start from’. ‘Beginnings’ seemed a natural topic for the inaugural issue of the Australian Poetry Journal. It enters a pre-existing world, but there is no question that it has arrived.

Foreword: The Best Australian Poetry 2008

The editor of this volume, David Brooks, has included work from many poets who have not appeared before and his distinctive “take” on contemporary poetry (he has been an editor of the venerable journal, Southerly, since 2000) has resulted in a deeply satisfying collection. Brooks’s most recent poetry has been a poetry of experience, passion and momentary distillations into meaning or action, and one senses something of this in his selection.

Guest Editor: David BrooksGuest editor: David Brooks
Series editors: Bronwyn Lea and Martin Duwell

The sixth collection in our series is another reminder of the richness of contemporary poetry in Australia and the fact that this richness can only be adequately sampled by different editors who each bring their own perspectives to the scene. The editor of this volume, David Brooks, has included work from many poets who have not appeared before and his distinctive “take” on contemporary poetry (he has been an editor of the venerable journal, Southerly, since 2000) has resulted in a deeply satisfying collection.

This is not the place to launch into a full-scale description of Brooks’s writing, but it is worth noting that his high reputation as a writer of elegant short stories, his extensive academic/critical work, and a Miles Franklin shortlisted novel have, for a long while, obscured his status as a poet. His first book, The Cold Front, was published twenty-five years ago and the title of his second, Walking to Point Clear: Poems 1983-2002 reveals that, although his fiction and criticism might have been better known, he has never stopped being a poet.

Now, with the publication of his fourth book of poetry imminent, readers will be able to see the results of an extended commitment in better perspective. To summarise some of the results of this perspective, one can see that his early poetry was infused with the influence of contemporary US poets such as Galway Kinnell and Robert Bly. His third book, on the other hand, was filled with poems of energy and intensity, suggesting the presence of a figure more like Bruce Beaver. It would be fascinating to trace the consistencies that underlie such radically different sorts of poems but, for this anthology, it is worth focussing on a sense of poetry as intensely embedded in life itself. Brooks’s most recent poetry has been a poetry of experience, passion and momentary distillations into meaning or action, and one senses something of this in his selection.

One of the reasons for the high number of new poets may, of course, be the fact that Brooks has been able to include poems from sources not available to previous editors: as we flagged last year, this year we would begin to include on-line journals such as Jacket and Cordite in our catchment area. That was not an easy decision though many of our reservations (on-line journals often contain previously published work etc) may have been no more than the prejudices of essentially print-based editors.

Reading Brooks’s selection (and yielding momentarily to the cliché that the internet is especially good at doing the fleetingly present) one is reminded of poetry’s power to give us some kind of impression of life as it is in the process of being lived. There is a dangerous metaphor which hovers in the background here, but the word “capture” is far too simplistic to give any sense of the complex possibilities of what is happening when poetry sets out to engage the everyday.

It is amazing how many of these poems are filled with the sense of “Here I am” or “I am doing this” – in Jennifer Maiden’s case: “So, here / I am in bed with one silk sheet – / a Chinatown bargain – rippling its water / on my legs”. But the ways in which this kind of poetry engages with the world are almost endless in their variety: there is all the difference in the world between, say, Michael Aiken’s “Victoria Street, Darlinghurst” and Robert Kenny’s “An Australian Suburban Garden” – both, interestingly, appearing in on-line journals. In the former the poet, as recording eye, limits himself to what he can see and hear but the results are structured so that we see a picture of animals alive and dead framed by pictures of humans, all involved in motion. In Kenny’s poem, we are taken much closer to the way that the mind travels while the body stands (or, in this case, sits) still. And Kenny’s mind, being what it is, travels continuously to literary and artistic references. Although Kathryn Lomer’s complex double sestina, “The Fencer and His Mate” and Jan Owen’s “Boat Harbour Beach” are both portraits rather than slabs of reality, they are portraits of what can be seen from a specific vantage point: in the latter case, men seen while the poet is writing. The connection between writer and workmen is wryly stated: “all of us trying to move the earth”. The men, so acutely observed, are figures in a landscape and we sense that they are figures which just happen to impinge on the poet’s consciousness.

Tass Holmes’ “Mum’s Taxi”, Sarah Tiffen’s “Rain Event in the Whispering Country” record the experience of living, in the latter case with a good deal of rhapsody. In both these poems, as in Ross Clark’s “Full-Bucket Moon”, reality is not left entirely to its own devices when it comes to representing itself. Mythic structures hover in the background. The life of the family of “Mum’s Taxi” is lived “in a rain-shadow on the side of a recumbent woman-mountain” (I thought, the first time that I read this poem in its journal, that “Under the Mountain” might have been a better title) and both the Clark and the Tiffen almost dissolve in their own mythic structures.

Other poems are portraits. But even Brook Emery’s “In the Hollow of a Wave”, which is a complexly organised portrait of Bondi Beach, is attuned to the way in which life is lived: here the ever present waves represent the continuous unfolding of the phenomenal world. In John Kinsella”s “Imitation Spatiologue (Sublime)” the fury of being harassed by “the ski-boat fraternity” on their way to a lake spins out into complex analyses of the formation of the lake itself. On a lighter note, John Jenkins “Dad Says” is a kind of portrait of life lived in popular sayings. On one level it is a portrait of a language – a recording of a specific language – but it can just as well be described as a poem in which these tart clichés determine how we experience life. In Geoffrey Lehmann’s “Self-Portrait at 62” the author defines himself not by analysis but by letting us see what he does. Here the implied structures are not mythic but poetic and the poem concludes by redefining poetry:

Poetry is incidental. / I am my poem.

Foreword: The Best Australian Poetry 2007

The editor of the fifth volume in our series does, literally, need no introduction, at least for most readers of Australian poetry. Since the mid-sixties John Tranter has been a continuous, modernising force in our poetry, and, more recently, risen to the point where he is acknowledged as one of a select few of Australia’s really great poets.

Guest Editor: John TranterGuest editor: John Tranter
Series editors: Bronwyn Lea and Martin Duwell

The editor of this, the fifth volume in our series does, literally, need no introduction, at least for most readers of Australian poetry. Since the mid-sixties John Tranter has been a continuous, modernising force in our poetry and, more recently, risen to the point where he is acknowledged as one of a select few of Australia’s really great poets. His poetry, as shown in his most recent New and Selected poems, Urban Myths (UQP, 2006), is a complex mix of abstraction and concreteness (he writes as well about the ambience of Sydney, his home town, as any poet), experiment and nostalgia (it is remarkable how often the rural world of his adolescence emerges in the poems). He is also a formal master, reinvigorating old forms and inventing new ones. It is worth noting that Tranter has also been an editor of and for magazines. At the moment he is the editor of an online journal, Jacket, which many people have thought – and said – is the best of its kind in the world.

Perhaps less well-known is the fact that Tranter is an anthologist of real importance. Most will know of his anthology of the group of poets to which, in terms of literary history, he belongs, The New Australian Poetry (Makar, 1979) and of his editing, with Philip Mead, The Penguin Book of Modern Australian Poetry (Penguin, 1991). The second of these surprised many readers, who perhaps feared a stony-hearted, experimental rigorousness, by its generous inclusiveness. Less well-known are Tranter’s Preface to the Seventies – a prescient selection of new poets published by Poetry Australia – and The Tin Wash Dish (ABC, 1989) – a selection of poems made from entries in a bi-centennial competition run jointly by the Australian Broadcasting Corporation and the Australian Bicentennial Authority. Again, what stood out, was its editor’s love of poetry and of the surprises it can bring. As he says:

I saw a chance to compile a genuinely democratic collection of poems by all sorts of Australians, all living and writing in the late 1980s, about every theme imaginable, in every style and form under the Australian sun. Perhaps it’s only now, at the beginning of the third century of white colonisation, when we have learnt to face the often unpleasant facts of our history and the difficult compromises of our social and cultural mix, that an authentic Australian voice can begin to be heard. If so it’s a voice rich with diversity.

‘Rich with diversity’ sounds very like the keynote of The Best Australian Poetry 2007.

All poems are built along an axis with Life at one end and Art at the other. Some – Tranter’s own work is an example, as is Robert Adamson’s, though in a very different way – negotiate this binary with more complexity than others. Some seem to speak simply about, to represent, the world but are in acknowledged or unacknowledged ways verbal creations true to laws which are the laws or art not the world. Others may take the  inside of the mind as their subject – meditations – but are never entirely divorced from the world – which is, after all, if nothing else, the home of their metaphors. Others attempt to be entirely referential, to live inside the world of art or its equally complicated friend, language, but even the most abstract or self-referential of works is an object in the world. Many readers of this anthology will expect from someone with Tranter’s reputation as a high postmodernist an anthology of poems leaning towards the ‘art’ end of the spectrum. They will be surprised. There are many powerful poems here deeply concerned with life as it is lived. In the case of a poem like Pam Brown’s ‘Darkenings’ this involves a rapid sketching of an immediately apprehended reality. Michael Sharkey’s brilliant ‘The Land of Eternal Verities’ is a comic meditation on generational relationships in a distorted but recognizable Australia and Reg Mombassa’s ‘A Commemorative Tone Poem of Surprising Delicacy’ is also in a high comic/hyperbolic mode. But poems like joanne burns’ ‘fork’, John Millett’s ‘Elderly Woman at the Financial Planners’, Megan Petrie’s ‘Peter Doyle’, Brendan Ryan’s ‘What It Feels Like’, Mary Jenkins’ ‘In Tidy Town’ or Cath Keneally’s ‘Crying Girl’ or, indeed, a number of others, derive from a kind of quiet but insistent social-justice tradition in Australian poetry in that they record events and scenes with social implications. Underneath this surprisingly large representation you can feel, I think, Tranter’s abiding interest in the voices of poetry as social and cultural phenomena, intriguingly diverse and, at their best, never drab, predictable or pontifical.

The book opens with an elegant meditation about art in Robert Adamson’s ‘Double-Eyed Fig Parrot’ where that fantastic bird seems an icon of poetry itself looking simultaneously at life and at art. The fact that our anthologies are organised so that the authors appear in alphabetical order produces the accident that the Adamson poem is followed by Judith Bishop’s ‘Still Life with Cockles and Shells’ a work that seems almost to be a counterpart. Here the life is in the art, not the reality of the dead subjects. The poem speculates about the implications of life arising from the dead and finishes with two visions of the end of the world when we are all, paradoxically, dead but still alive. Barbara Fisher’s ‘The Poet’s Sister’ concerns itself with Dorothy Wordsworth’s interaction with her brother and though it may be, at one level, an attempt to recover the reputation of an important and unjustly silenced figure, the level that intrigues us is where Wordsworth’s ‘The Daffodils’, in pretending to be a solitary’s experience, is built upon a lie.

There are a number of meditative poems too in this collection ranging from Chris Wallace-Crabbe’s ‘A Vocation’ which is a kind of audit of his current physical and psychical status (‘The myth I keep on peddling through a life, / That work may be identical to play, / Will do me after all’) to Jennifer Harrison’s ‘Baldanders’ – a difficult but impressive meditation on mirrors and their capacity to, at any moment, be ‘something else’, “Baldanders”. Finally there is Clive James’ ‘A Gyre from Brother Jack’ which, despite being an unlikely candidate, seems quite central to this collection. It compares the two brothers Yeats – one as poet the other a painter – opting for the artist rather than his far more celebrated brother. What James finds in a single painting of by Jack Yeats, ‘A Morning Long Ago’, is a registration of life, not in mundane details but in the realized drama of just how meagre our time on earth is:

William had theories, Jack had just the thrill.
We see a little but we miss the rest,
And what we keep to ponder, time will kill.

            …

The only realistic general scheme
Of the divine is in this rich display –
Proof that the incandescent present tense
Is made eternal by our transience.

It is a fine meditation on art and its complex interactions with the process of living.

Last year’s anthology, The Best Australian Poetry 2006, had already gone to print when that year’s guest editor, Judith Beveridge, wrote to tell us that her good friend, poet Vera Newsom, had died on 10 July 2006. It was therefore not possible at the time for Beveridge to acknowledge the loss in these pages. And so we do it now. Newsom began publishing poetry in Australian literary magazines in the early 1980s and her first collection, Midnight Snow, was published in 1988 at the age of 76. Newsom published three further collections of poetry, including the award-winning Emily Bronte Recollects. At a celebration for Newsom’s 90th birthday in 2002, Beveridge delivered an address in which she described Newsom’s poetry as ‘characterised by a meticulous attention to craft, to clarity, to directness, to rhythm, to a sparse lyrical elegance, and by a deft tonal and formal control’. In 2003 Newsome was awarded a Medal of the Order of Australia (OAM) for service to literature as a poet and through her support for the emerging talent of other writers. At the time of her death, Newsom was working with Beveridge and other friends to produce a volume of new and selected poems to be published by Five Islands Press. 2006 was also the year in which Lisa Bellear, a Goernpil woman of the Noonuccal people of Minjerribah (Stradbroke Island), died. As well as being a poet, Bellear – author of Dreaming in Urban Areas (UQP, 1996) – was a visual artist, academic and social commentator actively engaged in Indigenous affairs throughout Australia.

From poets to poetry presses: two of Australia’s smaller publishing houses announced a change focus for 2007: Pandanus Books, based at the Australian National University, ended its poetry publishing days in 2006 with Windchimes: Asia in Australian Poetry, an anthology comprising poems that offer perspectives on Asia by eighty-six Australian poets; and feminist publisher, Spinifex Press, stopped publishing new books altogether. Five Islands Press – with the retirement of founder Ron Pretty – also announced a change of focus, dropping its New Poets Program (which published 32-page chapbooks by six emerging poets each year) and streamlining its mainstream program. From time to time, the New Poets Program had been criticised for being too large to maintain a consistently high quality, nevertheless it launched the careers of a number of 1990s poets who went on to enjoy critical success – Peter Minter and MTC Cronin among them – in much the same way as the Gargoyle Poets series did for Australian poets in the 1970s. It is sad to see it go.

Fortunately, a few small presses have risen to fill the gaps: David Musgrave’s Puncher & Wattmann, which started modestly with one title in 2005, kicked into full swing in 2006 with the publication of three new poetry titles; Paul Hardacre’s papertiger media launched its attractive Soi 3 Modern Poets imprint in 2006; and the eponymous John Leonard Press, producing books noted for top quality production, unveiled a promising list with four poetry books in 2006 and six in 2007. Which goes some way toward ensuring that the poetry book, while doing it tough in the current publishing climate, will not entirely disappear from bookshelves.

We made mention earlier of our guest editor’s role as the editor of an online journal. Taking off in the late nineties, online poetry journals have offered a new world of opportunity for editors not wanting (or unable) to finance expensive print journals. Tranter’s Jacket, launched in 1997, was one of the earliest and has become the most eminent, bringing into conversation poets and critics from around the world. At reportedly over half-a-million hits since its inception, it is difficult to imagine a poetry journal in print format attracting a comparable amount of traffic. A short list of other Australian-based, online poetry magazines that have steadily grown in profile might include Cordite, Divan, Retort, Stylus Poetry Journal, hutt and foame:e. Since we monitor each year the ground rules for our anthology, we have updated our initial decision to avoid taking poems from electronic journals. In coming anthologies, we intend to add the best of these sites to our list of literary magazines from which we source the year’s best poems.

Foreword: The Best Australian Poetry 2006

It should cause no surprise that Judith Beveridge, the editor of the fourth collection in our Best Australian Poetry series, has produced such a satisfying and stimulating selection. Those two adjectives accurately summarise the effect of her own work which has grown steadily in public esteem to the point where she can now be seen as one of Australia’s leading poets.

Guest Editor: Judith BeveridgeGuest editor: Judith Beveridge 
Series editors: Bronwyn Lea and Martin Duwell

It should cause no surprise that Judith Beveridge, the editor of the fourth collection in our Best Australian Poetry series, has produced such a satisfying and stimulating selection. Those two adjectives accurately summarise the effect of her own work which has grown steadily in public esteem to the point where she can now be seen as one of Australia’s leading poets. She has searched, as she tells us in her introduction, for poems in which the poets have won a battle with language rather than simply exploited comfortable idioms or, as she puts it, have ‘sat back on their comfortable haunches and written from facility or clannish pride’.

As a result this anthology has a high percentage of poems which are at first reading puzzling but which are attractive enough to lure the reader into the kind of deeper engagement that rewards us with rich responses. And as a result of this there is a high percentage of memorable poems here. Sometimes our initial puzzlement derives from an uncertainty as to what the poem is doing, how it is approaching its subject. The first and last poems of the book are examples of this. Robert Adamson’s ‘A Visitation’, describes with deceptive simplicity how, after a forty-year hiatus, the poet once again sees a yellow-footed rock wallaby: this time, one which has survived a Sydney bush fire. And we are not sure whether we are reading about an image that represents those humans who have been damaged by the intensity of exposure to the gods – what Patrick White, borrowing from Greek culture, called ‘The Burnt Ones’ – or whether we are seeing what is, for the poet, a bearer of revelation, a reminder to someone who has left childhood far behind, of  the overwhelming wildness of the natural world. And ‘I giorni della merla’, (the days of the blackbird) by Simon West – the poem with which Beveridge’s selection concludes – is also about visitations.

Here January’s blackbirds promise some kind of revelation but withhold themselves. Those who with tired stares ‘await the wasn’t of a century’ – a beautiful phrase – know the bird only as a shape in their minds.

This is also an anthology of mysterious narratives; a genre that emerges every so often in Beveridge’s own work. They can be surreal/symbolic stories like Peter Rose’s ‘Beach Burial’, Alex Skovron’s ‘Sorcery’, Kathleen Stewart’s ‘How I Got Away’ or Barbara Temperton’s ‘The Lighthouse Keeper’s Wife’ (a very Beveridgean poem). Equally they can be fairly straightforward narrations of what would be, to most of us, a surreal reality: Philip Salom’s ‘Sections from the Man with a Shattered World’ describes the psychic fate of an actual Russian soldier who lost the left side of his brain, and Lesley Walter’s ‘Hyphenated Lives’ tells the true and remarkable story of a pair of Siamese twins who produced a total of twenty-one children. All in all, Beveridge has done what we want our guest editors to do: to produce a selection which reflects its editor’s tastes and obsessions (this book is full of moons and horses) and yet have a coherent position on the question of what good poems in Australia should do. The result is one of the liveliest gatherings of Australian poetry we have read.

On a less happy note, last year was marked by extensive depredations by the Angel of Death among Australian poets. Tasmanian writers Barney Roberts, Jenny Boult and Margaret Scott all passed away. Margaret Scott’s work has been celebrated recently in an excellent article by Ruth Blair, ‘Finding Home: The Poetry of Margaret Scott’ (Australian Literary Studies 22.2), which shows how Scott’s migrant experience (she moved to Australia from England in 1959) forms a subtle framework that can be seen to encompass all her thematic material: in particular, the idea of home, which in all its guises is a recurrent focus in her poems. Scott published five books of poetry including a Collected Poems in 2000 (Montpelier).

Two Melbournian poets, Philip Martin and Shelton Lea, also passed away. The former after a long and debilitating illness; the latter after a long and lively life. Philip Martin’s Voice Unaccompanied, though a late first book, has many virtues and is one of those books which looks better as time goes on. Shelton Lea is still remembered in Queensland for a tempestuous visit in 1974. It produced a book in the Makar Press, Gargoyle Poets series called Chockablock with Dawn and one of the editors still has a chapbook of his in which Lea inscribed ‘Thanks for the American Dollar Kid’ in remembrance of overseas currency used to buy it (he hadn’t the courage to refuse). But Michael Sharkey in his memoir in Overland, No 180 speaks of their long relationship and writes so eloquently that it is impossible not to believe his account of Shelton Lea as someone who had the least sense of imposition, the surest sense that people would see a charitable act required doing and would do it. I think he had the least malicious intentions of anyone I’ve met. His self-deprecation was boundless, his awareness that he was putting on an act so surely judged (‘How was I, brudder?’; ‘Could you believe that?’) that it was impossible to begrudge him anything.

A final victim was the Canberra poet, Michael Thwaites who, between the ages of thirty-five and fifty-six worked for Australia’s security intelligence organization (ASIO). He went on to publish five collections of poetry but is best known for the story in which ASIO’s director-general, Charles Spry, recruited him saying, ‘You write poetry, I know. Much of the job will just be hard methodical work but imagination is also needed. I believe you could make a valuable contribution’, thereby establishing the possibility of a new kind of social relevance for poetry in Australia.

Foreword: The Best Australian Poetry 2005

One matter worth celebrating is the fact that the editor of this third anthology is one of the most distinguished poets writing in English. Peter Porter was born in Toowoomba, settled early in England, and over the last thirty years or so has renewed poetic contact with Australia to the point where he edited an important anthology of Australian poetry, The Oxford Book of Modern Australian Verse, in 1996.

Guest Editor: Peter PorterGuest editor: Peter Porter
Series editors: Bronwyn Lea and Martin Duwell

One of the tasks of these series editors’ Forewords is to map (or, at least, to sketch) what has happened in Australian poetry in the year under review in the anthology. In previous anthologies this seems to have involved us in lamenting the deaths of major poets and so there is a certain relief in discovering that this year has been one of few births and deaths. True, we have to mourn the closing of the journal Salt-lick: New Poetry – entirely devoted to poetry and thus responsible for publishing large numbers of poems, and good poems at that. And we note also the closing of Duffy&Snellgrove, which since 1996 has published books of poems by a number of Australia’s finest poets, including three poets found in this year’s anthology: Les Murray, Peter Goldsworthy and Stephen Edgar. Both these closures are indeed unfortunate, but we remain hopeful that new ventures will arise in their place. Sometimes it is good not to live in ‘interesting times.’

One matter worth celebrating is the fact that the editor of this third anthology is one of the most distinguished poets writing in English. Peter Porter was born in Toowoomba, settled early in England, and over the last thirty years or so has renewed poetic contact with Australia to the point where he edited an important anthology of Australian poetry, The Oxford Book of Modern Australian Verse, in 1996. And he has been a regular revisitor ever since. He has also had a lot to do with the writing careers of a number of younger poets. He has proved to be a sympathetic mentor to these poets and has been a generous supporter of many others while at the same time keeping an eye on what is happening in poetry in Australia. So the perspective he provides in this anthology is animated not only by his own stature as a poet but by a genuine interest in the literary life of the country of his birth.

His most recent book, Afterburner, published by Picador in 2004 is the sixteenth in a book publishing career which began in 1961 with Once Bitten, Twice Bitten. As a poet, Porter has a reputation for metaphysical daring, an immersion in European culture, and an almost morbid fascination with death and dissolution. This reputation is not entirely undeserved but it is worth noting that he is also one of the wittiest poets ever to have written in English. Some of these interests are inevitably carried over into the selection he has made for this anthology. Many of the poems here derive from contemporary Australian poetry’s renewed engagement with intellectual speculation.

Another feature of this selection, perhaps not out of keeping with this, is the number of long poems. The works of J.S. Harry, John Jenkins, John Kinsella and Fay Zwicky are all different kinds of long poem and exploit its different potentials. One is a surreal journey into a kind of Lewis Carroll-like environment in which philosophical positions can be looked at from an actualised perspective. The second is an imaginary meeting between a gangster and a great poet in a setting so associated with the poet that it seems like an externalisation of his mind (Stevens was, of course, obsessed by the relationship between the mind and reality and also with the nature of fictions). And the other two are more personal narratives distinguished by the fact that the former moves outward towards social documentation and the latter moves inward to register the effect of the alien on the young traveller. Then there are poems such as those by Chris Wallace-Crabbe and Geoffrey Lehmann which are extended works made up of individual units often providing different perspectives.

So it is good to see the long poem make a comeback of sorts. Generally Australia’s poetic tradition has avoided both minimalism and really extended poems although the verse narrative did re-emerge in the 1980s in the work of John Scott, Alan Wearne, Les Murray and Dorothy Porter. Rereading John Tranter’s important anthology of 1979, The New Australian Poetry, it is always a surprise to see how many long poems it contains: the twenty-two pages devoted to the work of Martin Johnston, for example, comprises two poems: ‘The Blood Aquarium’ and ‘Microclimatology’ and the whole of Robert Adamson’s ‘The Rumour’ is included. Not only are there a high percentage of extended works but now, in retrospect, they seem to form the backbone of the collection.

Introducing the collection in this way, with an emphasis on its editor’s preference for speculation over lyric celebration might be something of a misrepresentation. Many of the poems in this selection demonstrate a profound interest in the human sphere and it reminds us that Porter, in a recent lecture (republished in the Australian Book Review, 266), has emphasised this contribution from the ‘huge Commissariat of Poetry’:

We tend to think of poetry as descriptive, pastoral, lyrical or rhetorical – above all as lapidary, concerned with its own means, with language at unconsciousness’s most intrinsic borders. But it would get nowhere without its human subjects, the material of social life, material closer to home than trees, cataracts or sublimities of Nature.

Foreword: Best Australian Poetry 2004

The Best Australian Poetry 2004 is the second of our projected annual surveys of contemporary Australian poetry published in literary journals and newspapers. Guest Editor Anthony Lawrence has established himself as one of Australia’s premier poets with a passionate and distinctive voice celebrated for its lush undulating movement, kaleidoscopic vision, and musical complexity.

Guest Editor: Anthony LawrenceGuest editor: Anthony Lawrence
Series editors: Bronwyn Lea and Martin Duwell

The Best Australian Poetry 2004 is the second of our projected annual surveys of contemporary Australian poetry published in literary journals and newspapers. We are encouraged by the over-whelming reception of the inaugural edition, The Best Australian Poetry 2003, (pre-sales made necessary a second reprint before the book was officially released) and this has given us confidence in the future of the series. Already we can see the benefits of a policy of engaging a different Guest Editor each year — this year, poet and author Anthony Lawrence — in that this selection feels radically different to last year’s. Rather than attempting a magisterial overview, we have always felt that the varied perspectives of changing Guest Editors will make, in the long run, for a rich and more accurate portrait of what is happening in poetry in Australia. At the practical level, this second edition has enabled us to think more carefully about those matters of policy which seem commonsensical in the abstract but which, in practice, come down to irritatingly minute decisions. Matters of nationality for eligible poets comprise one set of thorny examples, as do the list of journals from which the poems will be selected. In both cases, we have reconsidered but decided to continue our policy of including only poems by Australian citizens and residents published in Australian print journals and newspapers. In the case of the former, we learned its stark consequences when Lawrence returned his selection of his ‘best forty poems’ which included a poem by a well-known American poet who had somehow slipped through our filter: jettisoning the poem and requesting a replacement was a decision made not without considerable pain. In the case of the latter, we felt our decision was a bit harsh on journals such as Antipodes — the journal of the American Association for Australian Literary Studies — which has, for a number of years now, done a magnificent job of bringing Australian literature into the North American ambit and which, at the same time, continues to publish a number of fine Australian poems in each issue. But as well as celebrating Australian poets and poetry, we had decided at the outset to celebrate those journals and newspapers which, in the difficult climate of Australian culture with its attendant problems of lack of financial resources and lack of broad community support, nevertheless continue with a commitment to the poetry of Australia.

In a year in which Australia went to war, albeit as a small component of the ‘Coalition of the Willing,’ it is perhaps not surprising that one of the issues raised during 2003 involved poetry’s commitment to the public sphere. The positions of poets, as always, covered a span. At one end is an essential, though sometimes despairing, quietism inevitably invoking Auden’s ‘poetry makes nothing happen: it survives / in the valley of its making,’ though perhaps missing Auden’s point that, although the overarching cultural and physical conditions do not change (Ireland remains mad and its weather remains terrible), poetry’s survival as ‘a way of happening, a mouth’ is itself a cause for hope. At the other end is a belief in poetry’s capacity to be at least a component of protest. In March 2003, a collection of poems by 119 Australian poets was delivered to Australia’s Prime Minister as part of an international Day of Poetry Against the War. The poets included ten associated with this year’s Best Australian Poetry anthology: Robert Adamson, Adam Aitken, Judith Beveridge, Peter Boyle, MTC Cronin, Anthony Lawrence, Emma Lew, Les Murray, Thomas Shapcott and Chris Wallace-Crabbe. Speaking on behalf of Australian poets against the war, Alison Croggon’s comment that the collection was a ‘flotilla of poems which matches [Australia’s] military presence in the Middle-East — small, but symbolically significant’ perhaps strikes the right note for poetry in its engagement with the world’s macro-events: ambitious but realistic.

It is sad to have to record, in this introduction to our second volume, the passing of one of the contributors to the first volume. Norman Talbot, who died in January 2004, was a fine, if underrated, poet and a thoroughly distinctive voice in Australian poetry. His first two books, Poems for a Female Universe (1968) and its whimsically named sequel, Son of a Female Universe (1971), contain poems that one remembers fondly after more than thirty years. Talbot’s prize-winning poem sequence, ‘Seven New South Wales Sonnet-Forms,’ is included in this volume, and it was our sad task to inform Lawrence who, tucked away in Hobart, had not heard news of Talbot’s passing but had nonetheless selected this poem on merit. Another passing of importance was that of Clem Christesen, a Brisbane poet and prose writer who began Meanjin Papers as a small magazine in late 1940 in Brisbane. After the war the journal moved to Melbourne, contracted its name to Meanjin, and established itself as Australian premier cultural journal in the post-war period.

As we’ve stated, one of the many aims of this series is to celebrate those journals, such as Meanjin and the new and impressive literary journal Salt-lick Quarterly, which continue to publish quality Australian poems, as well as to celebrate those editors who devote immense stretches of time and infinite energies to produce quality magazines. On a more coercive (though suitably muted) note, we hope that the series will also encourage poets to renew contact with these journals. While emerging poets derive immense support and confidence from publication in small magazines, established poets sometimes withdraw while preparing book-length manuscripts and contribute poems to magazines not as a matter of course, but only when asked. There is a certain irony in the fact that the Guest Editor of this volume did not appear in the inaugural issue, having published no poems in literary journals in 2002. While he did publish poems in journals in 2003 — perhaps inspired by this series? — we are grateful that he agreed to forego possible inclusion in The Best Australian Poetry 2004 and agreed to be its Guest Editor instead.

In a series of books, beginning with Dreaming in Stone (UQP, 1989) and now his most recent The Sleep of a Learning Man (Giramondo, 2004), Lawrence has established himself as one of Australia’s premier poets with a passionate and distinctive voice celebrated for its lush undulating movement, kaleidoscopic vision, and musical complexity. Lawrence’s poems and collections have won just about every prestigious poetry prize in Australia, including the Newcastle Poetry Prize (1997) and the Josephine Ulrick Poetry Prize (2001), as well as the Judith Wright Calanthe Poetry Prize (1991) and the New South Wales Premier’s Kenneth Slessor Prize for Poetry (1996). His poetry is rightly admired by many for its exploration of the immense drama of the Australian landscape, capturing not only the harshness of rural life but also meditating on the intricate and startling details of native birds, fish, and animals. But Lawrence is also intensely interested in the human animal and, in this aspect, his poems are often set into continual motion, converging and dispersing in a kinetically-charged human drama. It’s perhaps not surprising, then, that his selection here contains not only many poems about animals — dogs, horses, birds, bats, fish, and the platypus — but also many poems about love — romantic and familial — with all the violence and tenderness that these relationships incite and demand. There are poems too that explore the human at home in the body — a body that oozes, bleeds, and aches, but one that also loves, desires, and heals — as well as poems that are intensely interested in language, another of Lawrence’s own interests, and in how poetry might effectively address the cerebral and political dimensions of creative life. Lawrence’s selection is not only intelligent but also dramatic and flamboyant, revealing an unquenchable and quirky passion for life immersed in the magnificent clutter of lived reality.

During the proofing of this introduction we received word of the death of Bruce Beaver at the age of seventy-six. He was one of Australia’s greatest poets, an indefatigable writer and a great celebrator and lamenter. His most admired book was his fourth, Letters to Live Poets, published in 1969, but the volumes that followed it — Lauds and Plaints and Odes and Days — as well as the volumes that followed these books, are really major contributions to Australian poetry. Beaver showed Australian poets how it was possible to be wide-ranging and international in one’s reading and one’s concerns while writing in a way that seems absolutely Australian. He was always concerned with poets and his two totemic poets were Po Chu-I (whose unstoppable ability to turn life into poetry was something he admired) and Rilke. One of the best poems in Beaver’s first book, Under the Bridge (1961) is ‘Remembering Golden Bells…and Po Chu-I,’ which retells the story of the Chinese poet’s loss of his little daughter, Golden Bells. It seems fitting that in one of his final poems — from his postumous collection The Long Game and Other Poems (UQP, 2005) — Beaver recalls his Chinese mentor:

Late Afternoon

A last radiance of sunlight
illuminates an empty chair, an empty couch.
Visitors are few and when they come
I don’t wish them away
but do hope they won’t stay too long
for my closest friends are books and blank paper.
My fingers itch for the pen and later
my eyes focus on the pages of others.
It’s understandable: I’m in my seventies
and though the days moving into summers
are growing longer, my years are growing shorter.
Like Po Chu-I, I have been away from the Capital
a long time; though I have not lost any children
I watch the faces of acquaintances
and see in them a lost child here and there.
Surely parenthood is a vocation
like poetry, unlike poetry.

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. 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.

Guest Editor: Martin DuwellForeword: Bronwyn Lea
Guest editor: Martin Duwell
Series editors: Bronwyn Lea and Martin Duwell

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.