The 1990s heralded a new ethos in Australian book publishing: poetry was no longer presumed to be a prestigious staple …
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’.
Campbell Newman might have hoped the Queensland Premier’s Literary Awards were dead, buried and cremated: the allocated prize pool of $230,000 shared across 14 categories had been scratched from his budget and any mention of the awards, including past winners since 1999, was thoroughly wiped from his website. But miraculously – or rather due to the harnessed outrage and exhaustive efforts of volunteers from Queensland’s literary and arts community – a new suite of literary awards has arisen from the ashes without a skerrick of government funding, nor the Premier’s name in the title.
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.