Michael ondaatje: a lion at the cat’s table

Review of The Cat’s Table by Michael Ondaatje

In English all the cool loanwords are German. The catalogue of human emotions would be incomplete without the world-weary melancholy carried by weltschmerz or the self-destructive yearning of sehnsucht. Schadenfreude – to take pleasure in another’s suffering – has proven indispensable, and zugzvang, a beautiful concept derived from chess in which a person is forced to be the author of his or her own destruction, appears everywhere once you’ve learned it. But Katzentisch comes to English only in translation. Literally “the cat’s table,” it refers to a low table at which the well-heeled feed their pets. Metaphorically it’s the kiddies table, or for big humans it’s the badly lit table in the restaurant corner.

ondaatjeIn English all the cool loanwords are German. The catalogue of human emotions would be incomplete without the world-weary melancholy carried by weltschmerz or the self-destructive yearning of sehnsucht. Schadenfreude – to take pleasure in another’s suffering – has proven indispensable, and zugzvang, a beautiful concept derived from chess in which a person is forced to be the author of his or her own destruction, appears everywhere once you’ve learned it.

But Katzentisch comes to English only in translation. Literally “the cat’s table,” it refers to a low table at which the well-heeled feed their pets. Metaphorically it’s the kiddies table, or for big humans it’s the badly lit table in the restaurant corner. In politics and business, the cat’s table is reserved for the office that exists but has lost the authority to act. It is also the title of Michael Ondaatje’s latest novel.

The Cat’s Table opens in Ceylon (as Sri Lanka was formerly known) in the early 1950s with an eleven-year-old boy boarding the Oronsay, a liner bound for England. At mealtimes he sits at Table 76 – “the least privileged place” in the dining hall – with two other boys, Cassius and Ramadhin, and an eccentric array of adults: among them a frequently tanked pianist who teaches the boys dirty lyrics; a botanist who tends an Ayurvedic garden in the ship’s hold; and a quirky spinster who consumes crime novels and houses pigeons in her jacket.

While the doyens of the Captain’s table “constantly toast one another’s significance,” the boy learns that all that is interesting happens mostly in secret, in places where there is no power. “It would always be strangers,” the adult narrator reflects, “at the various Cat’s Tables of my life, who would alter me.”

Seemingly The Cat’s Table courts a biographical reading: both the author and the narrator are named Michael, both were born in Colombo in 1943, both emigrate from Ceylon to England in 1954, both relocate to Canada as young men, and both become feted writers. In his “Author’s Note”, however, Ondaatje insists his “imagined rendering” is fiction, not memoir. It is an unnecessary disclosure: anyone familiar with Ondaatje’s oeuvre will know his project has long been to dissolve the boundaries of fact and fiction. But given the felonious events that transpire on board the Oronsay – sorcery, larceny, murder and more – perhaps a distinction was thought legally prudent.

Whether the author and the narrator share an antipathy toward authority or not, Ondaatje has been dining at the Captain’s table since his second novel, The English Patient, won the Booker Prize in 1992. Or more precisely, given the cinematic prejudices of our age, Ondaatje was ushered into literary “significance” four years later when Anthony Minghella’s film adaptation by the same name won nine Oscars, two Golden Globes and six BAFTAs.

The skyrocketing effect Minghella’s English Patient had on Ondaatje’s career cannot be overstated. The film became compulsory viewing for the fashion set, stimulating the book’s sales in excess of two million copies worldwide. Both the book and the film, Ondaatje muses in a 1997 interview, acquired “a slightly sacred fog” in the public imagination.

Not surprisingly The English Patient also became a target for satire. Shortly after the film’s release a popular Seinfeld episode pilloried its worthiness, deeming people who didn’t like the movie – as Elaine didn’t – “flinty hearted” and “untrustworthy.” For her aesthetic insurrection Elaine is punished with a trip to Tunisia (the filming location of The English Patient) where she must live in a cave in order to save her job. Similarly in Chuck Palahniuk’s new novel, Damned (2011), hell is a place where The English Patient plays on eternal loop.

But before afflictions of fame, Ondaatje enjoyed the relative obscurity afforded a poet. Beginning with The Dainty Monsters in 1967, Ondaatje has published a total of eleven books of poetry, earning him the steady admiration of critics and a select but ardent trove of readers. In 1991 The Cinnamon Peeler: Selected Poems assembled twenty-five years of Ondaatje’s greatest lyric poems in a tour de force: the title poem – “The Cinnamon Peeler” – which would surely stand among the best erotic love poems in English, as well as the much anthologized “To a Sad Daughter”, “White Dwarfs”, “Last Ink” and the extraordinary elegies for his mother and father, “Light” and “Letters & Other Worlds”, to name a small handful.

Ondaatje’s poetry – like his novels – often intersects with history. His second book, an imagistic suite of poems entitled The Man with Seven Toes, was inspired by Sidney Nolan’s Mrs Fraser series of paintings (1947-57) and Colin MacInnes’s brief account of Eliza Fraser’s fascinating but tragic life: shipwrecked off the Queensland coast in 1836, she was captured by aborigines and rescued by David Bracewell, a convict whom she betrays upon arriving in civilization. (Fraser is also the subject of Patrick White’s 1976 novel, A Fringe of Leaves.)

But Ondaatje’s career wasn’t underway until his second book, The Collected Works of Billy the Kid (1970) – a grab bag of poems, prose, photographs and fictional news stories about sociopathic William “the Kid” Bonney and his gang of killers – fell into the wrong hands.

“The ex-Prime Minister [of Canada] John Diefenbaker was essentially out of a job, but he was a very cantankerous, wonderful old demagogue,” Ondaatje recalls in a 1997 interview. “He read the book, and he just hated it. So he called all the cameras in for a news conference, and he said, ‘This is disgusting!’ There was a picture of me on the front page of the newspaper.

“Only about eight people had bought the book, so it was quite sweet in some way for him to read it,” Ondaatje laughs. “I wasn’t so upset by him disliking the book, but it put me into a tailspin about being semi-known. Even on a small scale, it was difficult not to be self-conscious about being a writer.”

Ondaatje’s early style is challenging but the effects are stunning. Ever evading a master narrative, he tells stories through pieces of song, faded photographs, snatches of conversation. The pieces don’t always meet at the edges, sometimes they overlap, and it’s left to the reader to make the meaning and provide the glue. Ondaatje’s writing never seems to move in straight lines. As Pico Iyer says, “It circles and slants and echoes and returns.”

In 1970 Ondaatje published a monograph on fellow Canadian writer, Leonard Cohen. The two writers share more than an emotional climate – a moody often erotic reverence for violence and beauty – they feed from the same lexicon of wounds, scars, madness, dreams, broken glass, bones, chaos, and kindnesses. Ondaatje offers a description of Cohen’s künstlerroman, The Favorite Game, that could easily serve as an artistic statement for his own practice:

“It has the effectiveness of a long prose poem,” he writes, “with each scene emerging as a potent and enigmatic sketch, rather than a full blown detailed narrative. As in a poem, the silences and spaces, what is left unsaid, are essential to the mood of the book.”

Ondaatje’s novels would, in time, surpass his mentor’s in ambition, sophistication and reach. Alongside The Man with Seven Toes and Billy the Kid, his poetic novel-of-sorts, Coming Through Slaughter – a jazzy, syncopated riff on the short, mad life of legendary cornet player Buddy Bolden – all stand as amphibious texts bridging Ondaatje’s poetry and prose.

In 1982 Ondaatje’s masterwork in prose appeared in the form of a memoir, Running in the Family, which chronicles his return to Sri Lanka to grapple with the lives of his parents: his father, Mervyn Ondaatje, was a tea and rubber-plantation superintendent afflicted with alcoholism; and his mother, Doris Gratiaen, a part-time radical dancer inspired by Isadora Duncan. Both were prominent inhabitants of what once comprised Ceylon’s flamboyant if frivolous colonial society. Ondaatje writes:

I must confess that the book is not a history but a portrait or ‘gesture’. In Sri Lanka a well-told lie is worth a thousand facts.

Despite his earlier prose works, Ondaatje calls In the Skin of the Lion (1987) his “first novel”. It is also one of his best. Set in Toronto in the 1920s and 30s it imagines the lives of the Macedonian immigrant community who built the city’s bridges and waterworks. Ondaatje’s attentiveness to beauty, despair, and lives lost to official history builds a searing narrative even as its language and circular structures pull its telling towards poetry.

Increasingly since The English Patient, Ondaatje’s novels have become less experimental, the shifts in perspective less dramatic, the language more denotative. Anil’s Ghost (2000) follows the life of Anil Tissera, a native Sri Lankan and forensic anthropologist, working as a Human Rights investigator during Sri Lanka’s civil war. Divisadero (2007) divides its attention between a family in 1970s California and an author in pre-World War I southern France. Both novels are skillfully drawn but neither quite manage the magic of his earlier works.

And so it is with his sixth novel, The Cat’s Table. Ondaatje’s preoccupations and signatory motifs are present in abundance: dogs, thieves, acrobats, tapestries, wounds, dreams, jazz, and poetry. And his eye for the cinematic moment still pulls off a splendid stillness. Each morning of the 21-day passage, the boys wake at dawn to spy on an Australian roller skater who races the perimeter of the deck and showers fully clothed: “When she left we followed her footprints”, the narrator confesses, “which were already evaporating in the new sunlight as we approached them”.

A study of one’s childhood is not uncommon in late-career writers. Perhaps having lost much of his childhood to the desperate antics of his parents, Ondaatje is compelled to return to the puzzle of his early years. If Tolstoy, Conrad and Coetzee had not pre-empted him, he says, he would have called his novel Youth.

Yet in stripping back the sophistication of his narrator’s voice to accommodate a child’s perspective, Ondaatje has deprived The Cat’s Table of the force of language that largely carried his earlier works. And in attempting a more straightforward telling, he has exposed his inherent weaknesses with narrative. One wishes he’d held his nerve and stuck to his earlier rhythms that, while difficult, were dazzling.

Ondaatje admits he doesn’t remember the day in 1954 that he arrived as an unaccompanied minor in the port of London. In his novel, he imagines Michael is met by his mother but he’s not sure he will recognize her face. He is wearing his first pair of long trousers, socks, and a thin cotton shirt. “You must be cold, Michael,” his mother says, pulling him to her. He can see part of the world to the side of her, the figures rushing past barely aware of him in his mother’s arms, the borrowed suitcase with all he owned beside him.

A reluctant guest or not, Ondaatje has earned his place at the Captain’s table – if not for this novel alone, but for what came before it, and for what we hope might follow.

Originally published under the title ‘The Cat’s Table’. Rev. The Cat’s Table by Michael Ondaatje. Australian Literary Review (October 2011): 23.

Foreword: The Best Australian Poetry 2009

The guest editor of this year’s Best Australian Poetry selection is probably best known for his huge verse novel, The Lovemakers, and for his recent collection of short poems largely inspired by local popular songs. He is, as I have said elsewhere, a master of the infinite complexity of Australian social life. He is endlessly inquisitive (in a way that used to be expected of novelists) about the details of an individual’s public and inner life, where the character derives from and how it expresses itself in details. The Lovemakers was not only a study of individuals but also of entrepreneurialism in business (and its counterpart, the drug trade), of Australian sport, and of the legal system, to name only the most important.

Guest Editor: Alan Wearne

Guest editor: Alan Wearne
Series editors: Bronwyn Lea and Martin Duwell

The guest editor of this year’s Best Australian Poetry selection is probably best known for his huge verse novel, The Lovemakers, and for his recent collection of short poems largely inspired by local popular songs. He is, as I have said elsewhere, a master of the infinite complexity of Australian social life. He is endlessly inquisitive (in a way that used to be expected of novelists) about the details of an individual’s public and inner life, where the character derives from and how it expresses itself in details. The Lovemakers was not only a study of individuals but also of entrepreneurialism in business (and its counterpart, the drug trade), of Australian sport, and of the legal system, to name only the most important. The earlier verse novel, The Nightmarkets, looked at the relationships between people, especially in political life, but, just as big business was counterbalanced by the drug trade in The Lovemakers, so the sex trade counterbalanced politics in The Nightmarkets. The ambition, the extraordinary sensitivity to telling detail in an individual’s life, and a command of the complex, larger structures in which these lives are lived, mean that Wearne’s work always makes me think of Dickens, the Dickens of Bleak House, Little Dorrit and Dombey and Son. I think I am right in saying that this is the first time he has been involved in editing – in the sense of making a selection of poems. He is better known, perhaps, as a teacher of writing; but teaching and editing are not dissimilar processes.

It is an overused commonplace that poetry is double-faced in that it can look inwards towards itself, its own material – language – and its own craft, and, at the same time, look outwards to the social world. Some of the collections in our series have clearly favoured the latter view, sometimes emphasising the drama of lives, sometimes the process of living. Alan Wearne’s selection is one which might be considered rich in portraiture, indeed it might almost seem as though its function was to remind us that there are many radically different ways in which poems can portray lives. And when Wearne writes, in his introduction, of the surprises in the poems that he read for this volume, one cannot help but think that often this resulted from an expert being introduced to new possible ways of doing what he does habitually.

At one end of the spectrum are poems like John West’s ‘Chelsea Women’ and John Carey’s ‘Fidel’s Children’ which work by aggregating quick sketches into a portrait of a larger whole. Each poet’s feeling for the extraordinariness of the lives they capture dominates their poem and it is difficult not to feel that the individual lives are more significant than the social structure in which they occur, though to deal with questions like this – something poetry is perfectly entitled to do – is to enter a very conflicted corner of intellectual questioning. At the other end, so to speak, are poems which portray their writer in a way that we are used to in lyric poetry. The haiku series of Rosemary Dobson and Graham Nunn describe the self by rendering impressions. The poems by Kelly Pilgrim-Byrne and Katherine Heneghan portray the poet’s self by focusing on something tangentially but importantly relevant. Peter Steele’s ‘Mending Gloves at Anglesea’ is also a gentle self-portrait facing the large question of poetry’s function in the world of power and deciding that, though lightweights ‘in the contest for chief lout’, poets have their own function. Geoffrey Lehmann describes his marvellous, extended poem of travels in Peru as a contribution to the new and ‘suspect’ genre of Baedeker poems but, like all good travel literature, it, too, is a portrait of the self, made slightly ridiculous, slightly insignificant but hyper-sensitive in an alien environment, in the way of much good travel writing.

Other poems are straightforward portraits. In Ali Alizadeh’s cleverly titled ‘The Suspect’, in Kate Lilley’s ‘Pet’ and L.K. Holt’s ‘Menis’ we are given clear studies and suffer the important frustration of all readers in not knowing what the author’s relationship to the portrait is. And then there is Maria Takolander’s ‘Witch’, which seems to be a portrait of a hypothetical person constructed out of a set of prejudices, and Geoff Page’s ‘Dining with the Pure Merinos’, which is a generalised, witty and not too cruel portrait of an entire class.

The act of looking at this volume as a kind of anatomy of portraiture draws attention to those poems which are overtly about the issues of the portrait. Peter Porter’s ‘We Do Not Write What We Are’ focuses on the question of poetry as self-portrait, wondering which self – the self of dreams or the self of the ordinary daylight world – appears in poems. Geoff Goodfellow’s ‘Finding Myself’, which seems, initially, to be a poem about the self recovering from very serious surgery, finishes with an image of the razor scraping away all that separates him from being a clone of his father. In this respect, purely accidentally, Tom Shapcott’s ‘Sestina’ places itself at the centre of the stage since it worries – in that obsessive way that sestinas do — about how much our prized individuality is a result of a determinist genetic heritage; as the poem says:

We do not start with a blank sheet, our genes
See to that. There is an itch somewhere in the shadows.

It would not be possible to write about Australian poetry in this year without visiting the sad fact of the death of Dorothy Porter. Her passing, late last year, at such an early age has taken from the community of Australian writers and readers one of our most loved poets. Remarkably, and almost uniquely for an Australian poet, her death attracted obituaries in overseas newspapers. She is most admired, at the moment, for a series of verse narratives beginning with Akhenaten and climaxing in The Monkey’s Mask. Good as these are, I suspect that they draw attention away from books like Driving too Fast and, especially, Crete – which remains my favourite of all her works. She was, pre-eminently, a poet of passion and, though the verse novels dealt with this theme in larger contexts, I can’t help feeling that its natural mode is the explosive lyric. She was a master – or mistress – of such poetry. Poems like ‘Why I Love Your Body’ and ‘My At-last Lover’ are hard to forget, genuine contributions to poetry’s most fully stocked, and hence most competitive, shelf. I love her comment, in an interview, about poetry and the -isms which bedevil intellectual life: ‘I don’t hold an ideological brief when I explore love or passion, I just go in and see what happens’.


The Best Australian Poetry forewords
Australian Poetry Journal forewords

Pulping our poetry

Rosemary Neil investigates the findings in Bronwyn Lea’s book chapter, ‘Australian Poetry’ in Making Books: Contemporary Australian Publishing. Ed David Carter and Anne Galligan. St Lucia: UQP,2007: 247–54.

by Rosemary Neil

It took Alan Wearne 13 years to write his verse novel, The Lovemakers, which explored “all the great, sexy things” (love, betrayal, home renovation) about life in the suburbs. In 2002, The Lovemakers took out the poetry prize and book of the year in the NSW Premier’s Awards, an extraordinary achievement for a 359-page poem written in a kind of exalted Strine.

Yet even as Wearne stepped up to the podium to collect his gongs from then NSW premier Bob Carr, The Lovemakers was doomed. “At the same time they were congratulating me, they (his publisher, Penguin) were planning to dump me,” the poet says, still incredulous five years later. In spite of the prizes and high praise this verse novel garnered, Penguin spurned the second volume. ABC Books eventually accepted The Lovemakers II, but although it earned excellent reviews, “any promotional campaign was non-existent”, Wearne complains. In the end, both volumes of The Lovemakers were pulped.

Behind the pulverising of Wearne’s two-volume epic lies a bigger yet rarely told story of the near-abandonment of poetry by many powerful publishers. Reflecting this, a new study by University of Queensland Press poetry editor, Bronwyn Lea, has uncovered a fall of more than 40 per cent in the number of poetry books being published.

Lea’s study finds that ‘in the years between 1993 and 1996, more than 250 books of poems were published in Australia each year. By 2006, this figure had been reduced by about 100 titles.’

Today, Lea says, the vast majority of local poetry titles come from small, independent presses. Some, such as Giramondo and Black Inc, punch above their weight, winning prestigious literary prizes or attracting big names.

According to Lea, however, many independent poetry presses “do not have sufficient access to resources, distribution and marketing to have their books noticed by readers. Under these conditions, the thus far unchallenged maxim that ‘poetry doesn’t sell’ becomes self-fulfilling.”

Lea, a poet and academic, believes UQP is the only large, mainstream publisher that still maintains a formal poetry list. UQP publishes five or six poetry titles a year and has on its list eminent poets such as John Tranter and David Malouf. Malouf’s first poetry collection in 26 years, Typewriter Music, was released in hardback at the Sydney Writers’ Festival last month. Within three days, its print run of 3,000 had all but sold out.

Lea says this shows that – contrary to popular belief – if poetry is properly marketed, it will connect with readers.

Her study, published in the new UQP title, Making Books, retraces how “the 1990s heralded a new ethos in Australian book publishing: poetry was no longer presumed to be a prestigious staple on the list of a serious publishing house.

“With mergers and takeovers happening left and right in the commercial publishing sector, poetry, for all its ‘cultural worth’ was told to pay its way in dollars or be gone. But with characteristically small print runs and booksellers hesitant to stock specialty books, this was a big ask.”

By the close of the decade, Lea found that publishers such as Angus&Robertson, Penguin, Picador and Heinemann had axed or radically cut their poetry output, leaving canonical poets such as Judith Wright and Les Murray temporarily publisherless.

The antipodean retreat was part of an international trend. Oxford University Press caused a furore in 1999 when it dumped 28 of its poets, including expatriate Australian Peter Porter, and closed down its poetry series.

It is telling that Murray – commonly ranked with the world’s top handful of poets – has signed up with Black Inc. (His previous publisher was the small, stylish but now defunct Duffy&Snellgrove.) Murray says of the majors backing away from poetry: “Their philosophy now is sales at any cost and quick turnover, so we are better off in some ways without them. The only escape routes at the moment for poetry are the net and performance.”

Wearne believes most of the majors are “scared of poetry and don’t understand it”. Now “a poet in exile” teaching creative writing at the University of Wollonging (he’s from Melbourne), he wonders why his earlier verse novel, The Nightmarkets (1986), enjoyed several reprintings and what he calls a crazy level of media attention, while 15 years later, The Lovemakers bombed.

The poet, who considers himself an entertainer and an elitist, believes the decline has been caused by dumbing down within the media, universities and publishing houses, a resurgent cultural cringe and a lack of nous about how to market poetry.

Wearne compares today’s poetry scene with the Australian film scene in the 1950s, when questions were asked about whether it had a future. Murray concurs, sort of. He tells Review “we are now back to exactly where we were in the early ’60s” when he started out as a poet. Back then, he says, few big publishers were interested in publishing local poetry as they were convinced it wouldn’t sell.

Interestingly, when Murray edited Best Australian Poems for Black Inc in 2004 and 2005, roughly half the poems he chose were by writers he had never heard of. He says this reflects the dearth of commercial publishing outlets for poets, but adds: “We always have had highly talented amateurs and I don’t think it matters that much.” Even so, deprived of mainstream publishing outlets, it’s hard to imagine our emerging poets attracting the same level of national and international recognition our senior poets (Murray, Malouf, Tranter, Wright, Peter Porter) have enjoyed.

At 39, Peter Minter has been writing poetry for 15 years, and has won significant prizes. He says of the scant opportunities for poets at bigger publishers: “It does grate. There is frustration that poetry doesn’t have the same kind of profile that prose does. The flip side is that in an almost up-yours kind of way, younger poets are stimulated into setting up their own presses and magazines.”

In spite of the grim outlook, Minter, Lea and others are adamant a poetry revival is under way on the web, at independent presses and in cafes, pubs and school halls. They say online poetry journals and performance poetry are reanimating the art form, and that the revival has so much grassroots support it exposes poetry-shunning publishers and bookshops as being out of touch.

Certainly, Miles Merrill is one of very few poets in Australia who can say: “I make an excellent living as a poet.” For the past two years, this charismatic African-American has performed for students around the country, from outback schools of 50 pupils to elite private schools with panoramic views of Sydney Harbour. Using little more than a mike, sunglasses and his sonorous voice, Merrill performs his own poetry and Coleridge, to a hip-hop beat.”If kids aren’t yelling for more when I leave the room, I feel that I’ve failed somehow,” he says.

Merrill, who moved to Australia 10 years ago, is also director of the NSW State Library’s poetry slam, which is about to go national. Poetry slams resemble a cross between hip-hop and Australian Idol, and the library is holding nationwide heats for its Grand Slam in December. Contestants get an audience and two minutes to impress judges who are plucked from the audience. At stake this year is $10,000 prizemoney.

The talent is nothing if not eclectic. According to Merrill, last year’s NSW finalists included a 12-year-old from Broken Hill and a 70-year-old from Armidale in northern NSW.

Melbourne, meanwhile, is warming up for Poetry Idol, another word wrestle that will culminate with a grand final at the Melbourne Writers Festival in September. Poetry Idol organiser Michael Crane is a mid-career poet who has had 350 poems published over the past decade, mostly in journals such as Meanjin and Overland. He agrees performance poetry is a growth area. But he also admits that in the present publishing climate, “if it hadn’t been for the magazines, I probably would have given up”.

While we like to profess reverence for dead poets from Shakespeare to Paterson, could it be that readers have little time for living poets? Ron Pretty has run Five Islands Press, Australia’s biggest independent publisher of poetry, for 20 years. He has never broken even and admits that without Australia Council subsidies “I probably would have gone under a long time ago”. A typical FIP poetry title has a print run of 500 or 600, “which is part of the reason the major publishers don’t want to know”.

Penguin boss Bob Sessions says the country’s biggest commercial publisher ditched its poetry list in the late ’90s because it wasn’t selling: “We had a poetry list at one time, until we realised that the maximum sales of the average volume we put out was between 200 and 400 copies, and that was unsustainable … We had a poetry list that was losing us money hand over fist, year after year.” He feels small, subsidised presses such as Black Pepper, Giramondo and Brandl&Schlesinger are the natural home for poetry (lower overheads can make it more feasible for them to publish books with small print runs). Given the rise of small presses and online poetry, Sessions says the obsession with poets being published by big publishers “is kind of irrelevant now”.

Sessions reveals Penguin is looking at producing a new anthology of local poetry “to show that modern poetry is alive and well in Australia”. Yet when asked about a release date and editor, he is vague. (Penguin’s previous anthology of Australian poetry was published 16 years ago.)

Clearly, some big publishers are still interested in verse novels. Dorothy Porter and young adult novelist Steven Herrick recently published such novels with Picador and Allen & Unwin respectively. A spokeswoman for Picador says Porter’s new verse novel, El Dorado, about a serial killer, “is doing fantastically” selling 4000 copies in its first month. The spokeswoman says while Picador doesn’t produce as much poetry as it used to, it has inhouse poets such as Porter and Lily Brett. (In Britain, Picador publishes Clive James and Peter Porter.)

Lea concedes some commercial publishers are still producing poetry, “but generally speaking, I haven’t seen a major act of re-engagement”.

Now in his early 60s, John Tranter is a poet of the printed page and of the cyber age. He believes “digital publishing will help save poetry from extinction. Online publishing is definitely the way of the future for poetry, mainly because it does away with the bugbear of distribution.”

While it is difficult and costly to ship poetry books overseas or get them into bookshops, Tranter’s web journal, Jacket, publishes poets from all over the world. British newspaper The Guardian has called it “the prince of online magazines”, and it has had 500,000 visits since Tranter set it up 10 years ago. Yet for all its prestige, Jacket remains a labour of love, Tranter is unpaid for the work he puts into it.

Last month, Nicholas Manning, an Australian academic working at the University of Strasbourg, helped launch The Continental Review, the web’s first video-only forum for contemporary poetry.

According to Manning, the review is a continuously updated poetry collection of video readings, reviews and interviews, integrated with YouTube. Manning hopes the Review will signal “a new approach in the communication and reception of contemporary poetry and poetics”.

But have our reading habits kept pace with technology? Are readers as seduced by a poem on a computer screen as they are by beautifully presented anthology of poems?

Lea concedes “there is no vetting system on the internet. It embraces the full range. To be published in Jacket would be an accomplishment, while at the democratic sites it’s just a matter of uploading your poem.”

Nevertheless, the mission to preserve our poetic heritage is turning to cyberspace. Tranter and others have secured a $500,000 grant to archive Australian poetry on the net; eventually, it is hoped poets will receive a fee whenever their poetry is downloaded.

Western Australia’s arts department is putting up $60,000 during a three-year period to encourage low-budget poetry publishing, while the Copyright Agency Limited is funding the Australian Poetry Centre, which opened in Melbourne this month.

The centre aims to lift the profile of homegrown poetry. Director Teresa Bell says the key to achieving this is to market poets more effectively. Poets, she says, should be marketed as celebrities, much as some novelists are.

“It is a scandal that we can’t have access to poetry in many of the bookshops of Australia and that it isn’t being supported by many of the larger publishers,” she says.

But she also sees a need for greater unity among our famously fractious poets. New to her job, she has already noticed divisions between Sydney and Melbourne poets, bush and city poets, performance and academic poets. “In order to flourish, there should be room for more diversity,” she says diplomatically.

Wearne retorts “that there were factions in the poetry world for about half an hour 30 years ago”.

Yet Murray claims that when he edited Best Australian Poems, “the great rivals of Australian poetry said. ‘Oh, Murray’s taking over the poetry world. He’s monopolising it.”‘ He accuses his rivals of “calling down the great Australian spirit that is called jealousy”.

In spite of the pulping of The Lovemakers, Wearne is working on another verse novel. He acknowledges poetry “is written by a minority and read by a minority”.

He is quick to add: “That does not mean it shouldn’t be on the shelves as it was years ago.”

Rosemary Neil investigates the findings in Bronwyn Lea’s book chapter, ‘Australian Poetry’ in Making Books: Contemporary Australian Publishing. Ed David Carter and Anne Galligan. St Lucia: UQP,2007: 247–54. This article first appeared in The Weekend Australian 7–8 July 2007, Review: 4–5.

Full text available online.

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