You could forgive a reader for thinking that journalists were writing about 16 year-old Lorde who topped the US charts last week with her song Royals, not a 28-year-old writer who already has an award-winning book under her belt, as well as a degree in English from the University of Canterbury, a Masters from Victoria […]
In Los Angeles, a Harvard poet wondered ”Is this too loud, is this too soft, am I going on too long?” while Sharon Olds put the ideal of her husband to rest and won the Pulitzer Prize for Poetry. Anne Carson published a poem composed using a random integer generator in the London Review of Books, and James Franco released a poem on the occasion of his 35th birthday. Bollywood heartthrob Farhan Akhtar penned a poem after hearing a five-year-old girl in Delhi had been raped and tortured by her neighbour. Dresden Dolls singer Amanda Palmer penned “the worst poem of all time“ in her musings on the younger Boston Marathon bomber. Historians noted 397 and 189 years have passed since Shakespeare and Byron, respectively, died of fevers.
Extract from chapter in Cambridge Companion to Creative Writing
“The line,” as James Logenbach contends, “is what distinguishes our experience of poetry as poetry”. Whenever we see, or more importantly hear, language arranged in lines we know we are entering the gallery of the poem. White space and silence frame the poem and alert us to its language. Consider the difference between William Carlos William’s “The Red Wheelbarrow” set as prose – “so much depends upon a red wheel barrow glazed with rain water beside the white chickens” – and the same words set in lines.
Review of Love: A History by Simon May; and Pornland: How Porn Has Hijacked Our Sexuality by Gail Dines.
Madame de Staël, famously exiled from Paris by Napoleon for her menacing wit, put her finger on the difference between male and female passion: “The desire of the man is for the woman”, she says, “but the desire of the woman is for the desire of the man”. Two-hundred years later, nowhere is de Staël’s remark better illustrated, and enacted in greater numbers, than in Internet pornography which seems to specialize, as far as I can see, in choreographing illimitable contortions of heterosexual sex, all the while managing an adroit distance from every female erogenous zone known and unknown to man. But more on porn shortly.
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.