Once asked what poets can do for Australia, A.D. Hope replied: “They can justify its existence.” Such has been the …
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’.
Review of Australian poetry titles in 2009
The Mary Gilmore Prize is for a first book of poetry. This year there were 39 entries: 33 of them were authored by women. The short list of five, perhaps not surprisingly given the odds, is made up entirely of women: Emily Ballou for The Darwin Poems (UWA 2009), Helen Hagemann for Evangelyne and Other Poems (APC 2009), Sarah Holland-Batt for Aria (UQP 2008), Emma Jones for The Striped World (Faber & Faber 2009), and Joanna Preston for The Summer King (Otago UP 2009). At the time of writing, the winner of the Mary Gilmore Prize has not yet been announced; however, several of these titles have already won national (and, in Jones’s case, international) prizes, in some cases in competition against highly esteemed and established poets.
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.
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.
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.
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.
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.