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Poem of the Week

Welcome to 'Poem of the Week' with Australian Book Review. Each week a different poet will introduce and read his or her poem. We are delighted to be making a lasting record of these poets' voices. We hope that you enjoy hearing these poems, freely available on our website. 'Poem of the Week' also gives us an opportunity to offer longer poems.

'Poem of the Week' is just one part of our coverage of Australian poetry. Each issue carries new poems as well as reviews of recent poetry collections. We welcome submissions from new and established poets. The Peter Porter Poetry Prize (worth a total of $7,500) is one of the country's most prestigious literary prizes and we recently launched States of Poetry.

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Custom Article Title: Poem of the Week - 'Are You Ready to Go Superfast?' by Kent MacCarter
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In ABR's inaugural 'Poem of the Week' Kent MacCarter introduces and reads his poem 'Are You Ready to Go Superfast?'.

Welcome to 'Poem of the Week' with Australian Book Review. Each Thursday a different poet will introduce and read his or her poem. We are delighted to be making a lasting record of these poets' voices. We hope that you enjoy hearing these poems, freely available on our website. 'Poem of the Week' also gives us an opportunity to offer longer poems.

'Poem of the Week' is just one part of our coverage of Australian poetry. Each issue carries new poems as well as reviews of recent poetry collections. We welcome submissions from new and established poets. The Peter Porter Poetry Prize (worth a total of $7,500) is one of the country's most prestigious literary prizes. In coming months we will also introduce States of Poetry – an innovative series of state and territory anthologies of new poetry, curated by different local poets.

Our inaugural 'Poem of the Week' is 'Are You Ready to Go Superfast?' by Kent MacCarter.

Lisa Gorton
ABR Poetry Editor


 

 

Are You Ready to Go Superfast?

Osteospermum jucundum

to be with the dancing women

           cosecants of how their diet pops

wet mimeographs         is to be organised just off

           the gravitas of early jitterbugs

stems and earlier         still

           peahen down to portrait calm         and votes

their faire frou frou

           to fly and woo as tai

babilonia twisting there         a calatrava

           cantilevered onto stamps in paraguay

the telephony of english butter

            say         or our aperitif of snowbank

are you ready to go superfast

            on de beers the carat of massachusetts

to be with the dancing women is singeing weed         boy

            george s wind up

chameleon and it s so meteoric why the african

            coastline         resembling a llama s head

sip bent for antarctic         ice

            skates the retina of lake

victoria         you re a daisy if you do

 

Kent MacCarter is a writer and editor living in Castlemaine. He is the author of three poetry collections – In the Hungry Middle of Here (Transit Lounge, 2009), Ribosome Spreadsheet (Picaro, 2011) and Sputnik's Cousin (Transit Lounge, 2014). He also edited of Joyful Strains: Making Australia Home (Affirm Press, 2013), a non-fiction collection of diasporic memoir. He is Managing Editor of Cordite Poetry Review. 'Are You Ready to Go Superfast?' was first published in the September 2015 issue of Australian Book Review.

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Custom Article Title: Poem of the Week - ‘Snakebite with Anecdote’ by Fiona Hile
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In ABR's third 'Poem of the Week' Fiona Hile reads and then discusses her poem 'Snakebite with Anecdote'.

Our third 'Poem of the Week' is 'Snakebite with Anecdote by Fiona Hile. ABR's Poetry Editor, Lisa Gorton, introduces Fiona who then reads her poem and discusses it.


 

 

Snakebite with Anecdote

Separation Creek is wide and deep, the slip
from rock to pond all jambed enchantment.
We persevere as if all we had to do was try,
the stripped burr of your new accent clinging
like a donkey to our sleek-faced nethers.
The abstract consistencies of the timbered distance
chide the chilled envelopes of sound-patterned skies.
Tell me another story before my petticoats catch fire,
the one about the girl who origamied your ampitheatre,
miscellaneous women unhooking the hinges from your lacquered.
Gift me the shine of the mordant hills now turned veneer.
Dredge a hell inside my heart to keep my eyes ablaze.
The truth is, I love the ranging conferences of the hunkered
night, how the morning eavesdrops on our misted sleep.
At night I wake to the symptom and cure of crumpled lips.
At breakfast, your eyes think me awake, all dream content blanked.
I share this recurrence amongst a number of palatable untruths.
In the corridor we listen to the sounds our babies make when they cry.
I'm glad you got what you needed, you say, but I hear something different.
Tell me what the baby says when it                    . Cold, hungry, lonely, tired.
I dream of waking in a tinder box and know this means.
The tarantula hawk deposits its prey at the mouth of a singular nest.
If her young don't devour my innards, I will see you on the other side.

 

Fiona Hile's first full-length poetry collection, Novelties, was awarded the 2014 NSW Premier's Literary Awards Kenneth Slessor Prize for Poetry. Her second collection, Subtraction, will be published by Hunter in 2016.

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Custom Article Title: Bonus Episode - Judith Beveridge and Stephen Edgar in Conversation with Peter Rose
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In this bonus episode of Poem of the Week Peter Rose interviews two past winners of the Peter Porter Poetry Prize – husband and wife Stephen Edgar and Judith Beveridge – about what it is like being poets in a marriage.

In this bonus episode of Poem of the Week Peter Rose interviews two past winners of the Peter Porter Poetry Prize – husband and wife Stephen Edgar and Judith Beveridge – about what it is like being poets in a marriage.

 

 

Judith Beveridge and Stephen Edgar have both also been recent Poem of the Week guests and their individual episodes are available via the links below.

#6 - Judith Beveridge reads 'As Wasps Fly Upwards'

#7 - Stephen Edgar reads 'Man on the Moon'

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Custom Article Title: Poem of the Week - Joel Deane reads 'Following the many elbows of the Yarra'
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Our first 'Poem of the Week' for 2016 is 'Following the many elbows of the Yarra' by Joel Deane. ABR's Poetry Editor, Lisa Gorton, introduces Joel who then discusses and reads his poem.

Our first 'Poem of the Week' for 2016 is 'Following the many elbows of the Yarra' by Joel Deane. ABR's Poetry Editor, Lisa Gorton, introduces Joel who then discusses and reads his poem.


 

Following the many elbows of the Yarra

Following the many elbows of the Yarra,
taking the racing line,
retracing the route to the Toorak school that did not teach,
            but bequeathed a tie,
perhaps,
I was blinded by the nostalgia of a life half lived,
perhaps,
and did not see the vixen spirit herself across the road
just in time to feel the bite of my tyres.
There was no time to brake.
My foot was half on, half off, the accelerator when
I felt the shock of her through my steering wheel,
             heard her cry.
I could have kept driving into the night—
the road was dead, the streets asleep—
but could not forget that time when,
coming down Brown Mountain in a Toyota,
I killed a goanna and kept going,
lacked the decency to drag the carcass off the road,
and how I carried that sin in my glove compartment still.
             I stopped.
Stepped out into the early morning,
the air cold enough to turn breathe to steam,
and stood by the taillights of my old 318,
watched the fox lie in the glare of a street light,
half a world away from her natural home,
and felt something close to pity.
Waited until a fleeting shadow—at first an eclipse—
grew smaller, darker, then manifested as a wedge-tailed eagle
that landed on the double-white line without a sound,
wing tips sweeping the leaves from the blue-black road.
The eagle was telling me she was watching me
watch the fox, so, now I knew I had no choice.
             I had to act.
I left my car behind,
purring its soft red cloud of carcinogens,
and heard my boots strike the bitumen
as I drew close enough to see my animus
reflected in her animal eye.
The vixen was breathing—more like panting—
and unable to move more than her head.
Without thinking,
I reached down to touch her burnt orange fur,
but she had seen enough of my kind
on her backyard travels
and, throwing her head up, caught my thumb
             in the trap of her razor teeth
What happened next surprised us all.
Without speaking, I took off my old school tie
to bind my bleeding hand,
walked back to the car, popped the boot
and came back to the fox with the wheel jack
swinging low from my good hand,
then let that hand rise and fall
beneath the shadow of the street light,
and listened to the sound of steel splintering bone
while the eagle—with a sweep of mighty wings—
lifted herself from the road to seek solace in the sky.

Joel Deane is a speechwriter, novelist, and poet. He has worked in Australia and the United States as a journalist and political staffer – covering the 2000 Democratic National Convention, serving as principal speechwriter to Labor Premiers Steve Bracks and John Brumby, and lecturing widely on politics and public language. In 2009, he was a finalist for the Melbourne Prize for Literature Best Writing Award. His new non-fiction book, Catch and Kill: The Politics of Power, will be published by the University of Queensland Press in July 2015.

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Custom Article Title: Poem of the Week - Jennifer Maiden reads ‘Clare and Nauru’
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Our second 'Poem of the Week' for 2016 is 'Clare and Nauru' by Jennifer Maiden. ABR's Poetry Editor, Lisa Gorton, introduces Jennifer who then discusses and reads her poem.

Our second 'Poem of the Week' for 2016 is ‘Clare and Nauru’ by Jennifer Maiden. ABR's Poetry Editor, Lisa Gorton, introduces Jennifer who then discusses and reads her poem.


 

Clare and Nauru

Clare Collins woke up in the only other
hotel in Nauru that had some roof left
on a balcony holding a satellite phone
given her by George, who'd been given
it as a favour by a friend in the C.I.A.
he'd shared beer with in Langley. This
phone bypassed both the Nauru police
and Australian security, except
that it was on a Langley frequency.
George and Clare assumed the C.I.A.
weren't that concerned with Nauru,
anyway, and the little phone worked fine.
Now George was ringing Clare from Brisbane.
He hadn't been allowed on Nauru
because they didn't like journalists -
even though he objected he wasn't one,
just a Human Rights observer, and
his autobiography, The Haunted Brothel,
was a work of imagination - but the Government
of Nauru apparently considered his statement
that Nauru was 'a greedy little hellhole'
made him a writer of fact. Picking up
the phone, she told him, 'You just woke
me up, and a couple of Nauru Reed
Warblers. They're nesting in the top-edge
of the roof, and they seem to be the only
native species the locals don't eat.' As if to prove
her assumption, the straight-beeked birds began
loud warbling in a long fine treble.
She walked down with the phone to the harbour,
which was full of vast rusting machines
from before the rich phosphorus ran out.
She said, 'You'd love it here.
Apart from doing anything for money,
they're all super-ego Christians. Everyone
swims in their shorts.' He gave that quick
snort-laugh of his. She missed him. Shorted
swimmers glared at her deeply with the same
expression that she recognised from old
photos taken two centuries ago, when
such locals were posed in a sullen throng
with coat-clad missionaries. She thought
they'd be formidable in a fight. The rain
which was rare here but heavy fell
around her in hot salty drops of the sort
that is cried by children. She watched
her own wraithlike swimming shadow in
the water sway like a shark just
sensing the close proximity of fish. She
was here to see a Detention Centre victim.
She sat on a rock, let the rain soak
through her like human comfort. George recalled,
with his yen for anti-austerity:
'Their problem there is that they really fell
for the myth about good risk and weird
investment going around in the Eighties.
They had the guts to declare independence
when Australia wanted to resettle
them all after the phosphorus, but
they spent their money overseas
trying to make more money, not on
building or maintaining on their island.'
'And now they're broke', said Clare, the rain
proving the C.I.A. waterproof and she herself
mad to the bolting swimmers, 'Do you
know that one of their investments
was a musical that had Leonardo
da Vinci in an affair with the Mona Lisa?
It was a bomb,' she added, just to see
what effect that last word had on the phone.
It clicked a bit, but seemed to function
normally. George always loved such
vital trivia. He said, 'I know all
about that. I saw it in London. Dreadful.
It was called Leonardo the Musical : a Portrait
of Love. My daughter wanted to go. I think
she couldn't believe it existed, but it did.'
He could have said, 'Sheridan', not 'my daughter',
as she and Clare were old friends, but
he liked the unusual fact that he was a father.
The rain ceased and at once dried out.
She said, 'I'll ring you later, let you know
what happens with Xanaan. Love you.' His
own 'Love you' bounced back with a speed
and lack of echo only C.I.A. technology
could probably have provided. Back at
the hotel, she avoided Detention Centre
guards who had arrived for the poker
machine den at the back. She had hoped
this less expensive place wouldn't attract guards,
but there was gambling here and Chinese
take-away. The whole place stank of soy
sauce and the sweat of loss like something
out of Graham Greene, she thought, remembered
that George had said at the end of one
James Bond novel the villain drowned
in a sea of guano: birdlime phosphorus.
She herself had wondered: was it flammable?
The wide stripped-bare belly of the island
with its lorn coral peaks clawing up
where the pasty soil had been? One
could not plant crops here now. The lagoon
of freshwater near here shone toxic. There
generations ago young saltwater fish
had been trapped by the tribal families,
and adapted to freshwater, kept to grow
for food, like the family pigs. She had killed
her younger siblings as a child, was too
familiar with death-by-intimacy not
to dismiss it with dry disdain, however
well-organised a system. Xanaan
- a Somali girl in her teens with long
deep elegant bones, oval face alert
with the detachment of a fashion runway
or the bright runway of trauma - stood
in the tattered hotel carpark, waiting.
These days, the detainees were allowed
to walk about the island - something
the Nauru Government called the ending
of detention - so the bored guards ignored
her, as she walked to Clare too fast. Clare
knew names were the first thing with trauma, asked
'"Xanaan" is lovely. What does it mean?'
And Xanaan said,'"Compassion", maybe,
"Mercy" and yours is "Light" in French, yes,
could we walk to the lagoon, please?'
                                                                                Yes.
Buada Lagoon, when they reached it, spread
like an impure viscous emerald, palm
trees not suggesting wealth and pleasure
as elsewhere than here, thought Clare, but rather
things stunted or jittery, weathered
wan. The sun, so close to the equator,
seemed to throw shorter shadows, arid
things of man-height, finished, like thin
ghosts of the living people, who were
heavy, diabetic and opaque. Clare
smelled the saltless water. A row of tires
caged it at the road's end. They rested.
Xanaan said, "I was there when they burned
down the Detention Centre. Before that
the local people were more friendly, but
they thought they were going to inherit
the Centre when we left and when it was
destroyed, they thought the prisoners had taken
away their property. I suppose
they had felt so much taken already.
Also, I've seen the guards act badly,
and I think that may be why what was
done to me was done, although the men
who attacked me were local Nauruans. I
was walking the road round the island's edge
at the time and there were five of them.'
'Were you raped?', asked Clare, taking
the checklist for trauma from a mental pocket.
'Of course, but you can't claim that here. They
say you're parroting others and become
aggressively patriotic. A nurse
agreed with me, though it didn't go much farther.
But since then I've been bleeding and
I think it's getting worse.' So did Clare,
who saw a darkening stain on Xanaan's
mended skirt quickly turn to liquefaction.
Clare asked, 'Why did we walk here?',
but she knew: there is more than one manner
to sew the lips together. So she said,
'I know they have an ambulance. It was given
to them by someone called Count Oppenheimer.
I'm calling it on this,' and waved the phone.
'They won't come for us', said Xanaan, but
Clare had mastered a banshee shriek in some
impeccable North Shore accent, and they came.
Count Oppenheimer's ambulance was in better
shape than the Hospital, which was broken,
burnt and battered hingeless in decay.
The registrar, who saw Clare's reaction,
said, 'They are pulling it down next year.
Your Government is giving $26 million
to build something better because we can't
airlift people to Australia now, and so
no point in fixing this one, anyway.'
As night swelled down, they'd almost stopped
the bleeding. Clare had found out that Xanaan
was O Positive and since so was she, she
sat next to Xanaan attached to a tight tube.
There was no blood bank here: the families
gave blood amongst themselves. When Xanaan
was finally asleep and looked more sanguine,
Clare realised a fat Nauruan policeman
and someone from Australia had arrived. They
weren't concerned with Xanaan, except
to remove her from the Hospital as soon
as possible without a downright murder, but
the untappable phone had made them angry.
They didn't know how it was being used,
and thought she was a spy for Save the Children.
She phoned George, who spoke in fine patrician
Virginian, suggested they might like
to check the frequency and 'not the fuck interfere
with the business of the Company'. They seemed unsure,
but after a while left her. A Nauruan Nurse
in an heroically clean uniform sat down
beside her, took the tube of blood, and said:
'She should not go back to the Detention Centre.
It's full of mould and rust and bad infection.
It's even worse than here, but what
can be done to fly her to Australia?' 'I came
to write a report', said Clare, 'I'll write that.
And the rape thing might help for a petition.'
So late-night uselessness crept through
her veins like a transfusion, made her sleep.

Clare woke up in the only hospital left
on the dead island of Nauru, but thought
at once, 'There is another island', and
heard some Reed Warblers at the window, which
was wrecked enough to see them, if she tried.
Xanaan woke up, too, and said, 'The Emergency
Response team are going to kill me if I
go back to the Centre', in a way that
Clare, who'd seen the photos of those men
cheering Hanson in Queensland, thought
might well be accurate. She said, 'At
any rate, have more blood', and found the Nurse
from last night, who agreed to help
with another transfusion, but also lingered
until Clare suggested, 'She shouldn't
stay on Nauru, should she?' 'No,' the Nurse
agreed. 'So to whom can I donate
some aid', said Clare,'And for what?
I could rent a boat and a captain to go
to Banaba Island and then to Kiribati,
where there's an air service. That would be
a day and then another day at sea.'
'You're right', said woken George, 'They'll kill her. Take
her to Kiribati and I'll get documents.
We'll find her some family in London: but
anywhere in Europe would be better. I'll be
with you in Kiribati in two days.
The great thing about Banaba Island is that
the Council live on Rabi in Fiji.'

                                         There were cluttered caves
near the long modern airstrip where they waited
until the boat was ready to the north
east of the island. Then they strolled there
in the innocent daylight as all could do
in this new improved freedom of Nauru.
The boat was in a shallow cove conceiled
by palms, crouching bushes. The crew comprised
the Nurse and her sister and their Aunty. Theirs
was a stalwart strong boat which could sail
comfortably a day to Banaba, and then
an even longer day to Kiribati. They
spoke of economics on the way, as
the old motor chugged, and sinewy Aunty
sat with them in the cabin, resting ready
for the night. She said, 'The island
had so much money for a little while.
They could have spent it on my boat,
and others. We could have built up soil,
planted vegetables and gardens, had
hot water all the time, real
hospitals, health centres, but those bastards
spent it all in other countries. They thought
the Australians were right and that you put
money into something that was meant
already to make money, then you got
money back in your own pocket. We
have 90% unemployment now, and
no one can pay tax so we scrounge it
all from other governments and blackmail.'
Clare, relaxing with the boat sway, holding
Xanaan's sleeping hand, said, 'Yes. I
couldn't believe how your government
established diplomatic ties with China
for $130 million and so broke off
relations with Taiwan, then re-established
ties with Taiwan and severed them with China.'
Aunty grinned: 'Yes, and kept the money. Then we
recognised Kosovo to get cash from the West,
and Abkhazia which got us, I think,
$50 million from Russia?' "I think
it was $50 million', agreed Clare, 'but
at least those two stayed recognised.' They
laughed and Aunty dozed off, too, as Clare
thought there could be no better night-pilot
than her. Clare was looking forward to the sea-
sky tonight and in fact it did not
disappoint when she woke up. This was
more stars than she had ever seen before,
and a moon with its head on your shoulder,
always on the verge of speaking, the hues
of the sky merging with black in any
indigo shade possible, the salt in the air
rippling with undercurrents, one's skin
no longer any kind of barrier, and Aunty
steering as if this boat did not
need more than stylised attention. The Nurse,
having left the wheel to sleep, told Clare,
'Almost half our population suffers
from Type 2 Diabetes. The French experts
blamed it on imported food.' 'But the French',
suggested Clare, "Blame everything on
food. Do you think some of it might be
hereditary?' She remembered those early pictures
that showed predisposition to plumpness as well
as to serious resentments.. The Nurse shrugged:
'Perhaps but more medical services would
certainly solve some problems.' Xanaan
was awake on deck looking more her age
than she had on the corrupt island. Clare
who hadn't previously enjoyed Gauguin
all that much, thought he might have merit
now in that he showed tough innocence
solidifying brightly in this landscape. She
discerned Banaba Island by the dawn,
then Aunty and her nieces brought back breakfast
from friends there but they returned promptly
to the open sea with the neat Nurse steering
and Aunty snoring softly in the cabin. Next
morning the dawn found them Kiribati, which
was longer and lower than the first islands, much
more clearly at the mercy of the sea, but
nonetheless a dulcet place. They had docked on
an uninhabited island, after she phoned George
and he was there to meet them. Aunty
and her nieces hugged them like their family,
would tell an invincible story of a visit
for two days with faithful friends on
small Banaba, accepted more money and more breakfast
from George and then put out back to sea. George
found himself quoting Housman unexpectedly:
'"And saved the sum of things for pay"'. 'Epitaph
for an Army of Mercenaries', explained Clare
to Xanaan, who said, 'They do not always
do the wrong thing. They were right not to be
resettled by Australia. And those three
women are my heroes, after you.' George
changed the subject, knowing how poor Clare
writhed privately at any praise. He said,
'Let's find you a Human Rights doctor.Then, however,
we can fly you somewhere safe.' Kiribati, Clare
thought, had sand as white as the moon, as
white as innocence, as bloodless white, as
magnetic white as power.

Jennifer Maiden has published twenty-one books. Her 18th poetry collection, Liquid Nitrogen, won the overall 2014 Victorian Prize for Literature, and was shortlisted for the International Griffin Poetry Prize and the Australian Prime Minister's Awards. Her latest collection is The Fox Petition, published by Giramondo in 2015.

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Custom Article Title: Poem of the Week - John Kinsella reads ‘A Spiral, After Blake's 'Roughly sketched figures ascend the stairways of Paradise’
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In this episode of 'Poem of the Week' John Kinsella reads ‘A Spiral, After Blake's 'Roughly sketched figures ascend the stairways of Paradise.' (Paradise, Canto 10, lines 72-87)’.

In this episode of 'Poem of the Week' John Kinsella reads 'A Spiral, After Blake's "Roughly sketched figures ascend the stairways of Paradise." (Paradise, Canto 10, lines 72-87)’. ABR's Poetry Editor, Lisa Gorton, introduces John who then reads and discusses his poem.


 

 

A Spiral, After Blake's 'Roughly sketched figures ascend the stairways of Paradise.' (Paradise, Canto 10, lines 72-87)

Corellas over the crossed towers
make the dry a whirlpool sent
down to take the patient higher.

There's light in perfectly bent
wings and the catch of the beaks
is litany, all husks shed and spent

as reflections, refraction, dispersal
over the dry, the brittle, the aromatics
of olive leaves and eucalyptus and stubble.

As pilgrims hope to catch the wave
of a spiral, to elevate with its sweep
across faint sketches in the dirt, save

memories and prayers, the leaps
of faith they've held their lives
together with, the glimmers, the steep

learning curves of birth and loss,
they can't hear themselves speak
as the corellas call out the gloss,

the glare, the substance of light.
Some say it is a noise but they
miss the translation, peace of night.

John Kinsella

The quote in the title is taken from the summary for the illustration by Blake of relevant canto as found in William Blake's Divine Comedy Illustrations (Dover publications, New York: 2008)

 

John Kinsella's most recent book of poetry is Firebreaks (Wiley, 2016). He is a Professorial Research Fellow at the University of Western Australia and a Fellow of Churchill College, Cambridge. He edited the Penguin Anthology of Australian Poetry (2009).

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Custom Article Title: Bonus Episode - Porter Prize Judges Lisa Gorton and Luke Davies in Conversation with Peter Rose
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In this bonus episode of Poem of the Week Peter Rose interviews two judges of the 2016 Peter Porter Poetry Prize – Lisa Gorton and Luke Davies – about the judging of the prize and honouring the legacy of Peter Porter.

In this bonus episode of Poem of the Week, ABR editor Peter Rose interviews two of the judges of the 2016 Peter Porter Poetry Prize – Lisa Gorton and Luke Davies – about the judging of the prize and honouring the legacy of Peter Porter.

 

Luke Davies is a poet, novelist, and screenplay writer. His first collection, Four Plots for Magnets, appeared in 1982, when he was twenty. His novel Candy (1997) was successfully filmed in 2006. He has won many awards, including the Grace Leven Prize for Poetry, the Philip Hodgins Memorial Medal, the Queensland Premier’s Literary Awards Judith Wright Prize, and the Age Book of the Year. His book Interferon Psalms won the inaugural Prime Minister’s Literary Award for poetry in 2012.

Lisa Gorton, who lives in Melbourne, became ABR’s Poetry Editor in October 2013. She studied at the Universities of Melbourne and Oxford. A Rhodes Scholar, she completed a Masters in Renaissance Literature and a Doctorate on John Donne at Oxford University. Her first poetry collection, Press Release (2007), won the Victorian Premier’s Prize for Poetry. Her 2013 poetry collection Hotel Hyperion (also Giramondo) was shortlisted for the Queensland Literary Awards. She was editor of The Best Australian Poems 2013 (Black Inc.). Her latest novel, The Life of Houses, was published in 2015.

Click on the following links to: find out more about the Peter Porter Poetry Prize; read the shortlisted poems; read about the third judge of the 2016 Porter Prize, Kate Middleton; or find out more about the Porter Prize ceremony, where the winner will be announced, on Wednesday 9 March at Boyd Community Hub, Southbank.

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Custom Article Title: Poem of the Week - Lisa Gluskin Stonestreet reads 'Rage to order'
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In this episode of 'Poem of the Week' Lisa Gluskin Stonestreet reads her Peter Porter Poetry Prize shortlisted poem 'Rage to order'. ABR's Poetry Editor, Lisa Gorton, introduces Lisa who then reads and discusses her poem.

In this episode of 'Poem of the Week' Lisa Gluskin Stonestreet reads her Peter Porter Poetry Prize shortlisted poem 'Rage to order'. ABR's Poetry Editor, Lisa Gorton, introduces Lisa who then reads and discusses her poem.


 


 

Rage to order

1.
insert here: dark joke about sharks (keep swimming or they die)
cruising around the apartment    something always in her hand
                                                                                                                 movement
from here to there, returning:      every wayward thing
                                                            needing her to find its home

~
idle, idle, wedge-edge of panic     polishing itself
she is easy to dismiss, is difficult, elegant

too, demanding, too
much

in the house
of self, she is the sleeper
                                              cell, rogue

~
sharp whir, levitating
mission: eradication

all the edges singing

all the clean all the blade, only the everything there, and not
                                                                                                              the not-

2.
o darling see this bed I have made you,
                                                                          so white

3.
what she was, under that tree, stack of books
at hand, was lonely (sole, not tragic, still:)
only, clear gone, tumbling
                                                into pages

4.
everything needed her

5.
and meanwhile, back to the cells, doing their job
perhaps a bit too well: look at them shine, O –

if foreign: eradicate
if possibly foreign: no chances
if only
~
                                                         O to be
perfect                 clear                   shot through
                                                                                  all silence in the piercing light

6.
because she read Plato at a tender age
because it feels like fixing
because if she does what they expect they will leave her alone
because the right slant of light
because something to push against

because annihilation

some pure beauty some glacier singing

7.
literally, no metaphorically, no literally

8.
{if in doubt, eradicate.     if skin, if swell, if possible
invader, encompass, wall off, flood
to inflame ::

              repeat

                                             better safe – }

than what? then
what? Some slip

past the bracket-gates, then –
                                                              what?

 

Lisa Gluskin Stonestreet

 

Lisa Gluskin Stonestreet's The Greenhouse, winner of the Frost Place Prize, was published by Bull City Press in 2014; Tulips, Water, Ash was awarded the 2009 Morse Poetry Prize. Her poems have been awarded a Javits fellowship and a Phelan Award and have appeared in journals including Rhino, Zyzzyva, The Collagist, Blackbird, and Kenyon Review Online. She writes, edits, and teaches in Oakland, California, USA. (www.lisagluskinstonestreet.com)

 

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Custom Article Title: Poem of the Week - Toby Fitch reads 'In Fancy'
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In this episode of 'Poem of the Week' Toby Fitch reads 'In Fancy'.  ABR's Poetry Editor, Lisa Gorton, introduces Toby who then reads and discusses his poem.

In this episode of 'Poem of the Week' Toby Fitch reads 'In Fancy'.  ABR's Poetry Editor, Lisa Gorton, introduces Toby who then reads and discusses his poem.


 


 Toby Fitch In Fancy 3

Toby Fitch

'In Fancy' was first published in The Bloomin' Notions of Other & Beau by Toby Fitch (Vagabond Press, April 2016)

 

Toby Fitch is based in Newtown, Sydney. He is poetry editor of Overland and program director for the Australian Poets' Festival. He also works as a bookseller at Gleebooks, a teacher of creative writing at the University of Sydney, and runs the Sappho Books poetry night. His books of poetry include Rawshock (Puncher & Wattmann 2012), which won the Grace Leven Prize for Poetry, Jerilderies (Vagabond Press 2014) and The Bloomin' Notions of Other & Beau (forthcoming, Vagabond 2016).

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Custom Article Title: Poem of the Week - David Malouf reads 'Visitation on Myrtle Street'
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In this episode of 'Poem of the Week' ABR Laureate David Malouf reads 'Visitation on Myrtle Street' which will appear in ABR's States of Poetry - NSW anthology.  ABR Editor, Peter Rose, introduces David who then reads and discusses his poem.

In this episode of 'Poem of the Week' ABR Laureate David Malouf reads 'Visitation on Myrtle Street' which will appear in ABR's States of Poetry - NSW anthology.  ABR Editor, Peter Rose, introduces David who then reads and discusses his poem.


 


 

Visitation on Myrtle Street

I was woken at some hour
of darkness before dawn by a scent so heavy
on my senses, on the room, that I was convinced

a burglar had broken in
and was loitering
upstairs or in the hallway, or having caught

my step on the stairs above him was lying low
in the laundry, or sitting
upright and unbreathing

in one of the Windsor chairs, unaware it was
his scent that betrayed him.
I checked the door to the balcony, then the door

to the street with its double lock. In the dark front room I checked
the sofa. Stretched full length
on its French blue he'd be hard

to detect. No one was there
but the scent was overpowering. 'What kind
of scent?', K would enquire

at breakfast. 'Was it
musk? Was it pine?' 'No, something sweeter – why
do you ask? Something sharper, maybe cheaper.'

'Because that would tell us,' he told me
seriously, 'what kind
of angel you were visited by.' 'Here?'

I protest. 'In Myrtle Street?' 'Why
not?' I took it in. Sometimes I wake to the smell of coffee
being brewed downstairs. It wakes me. Why not

the smell of an intruder?
When I woke again the scent had faded. What
had not was the change I felt

on my skin, on my nerves.
Later I worked for an hour or two
at my desk, struggling with angels

of another sort, who leave
no trace I would call a scent. Of musk or sweat,
or pine. Only pen-strokes on a page

they have changed with their lingering, when they deign
to linger. Or a dazzling
blankness when they do not.

 

David Malouf

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Custom Article Title: Poem of the Week - Graham Akhurst reads 'The Kadaitcha Sung'
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In this episode of 'Poem of the Week' Graham Akhurst reads 'The Kadaitcha Sung'. ABR Editor, Peter Rose, introduces Graham who then reads and discusses his poem.

In this episode of 'Poem of the Week' Graham Akhurst reads 'The Kadaitcha Sung'. ABR Editor, Peter Rose, introduces Graham who then reads and discusses his poem.

 

 

The Kadaitcha Sung

 A black feather
whispered
nascent

swoons
buried
under moonlit gleamed
dark skin

clandestine
it waits
Kadaitcha

a reminder
in haunted space
of darkness under light

 

Graham Akhurst

 

Graham Akhurst is an Aboriginal writer hailing from the Kokomini of Northern Queensland. He has been published in Australian Book Review, Cordite, VerityLa, and Off The Coast (Maine America) for poetry, and Mascara Literary Review, and Connect the Dots for fiction. He has also contributed to the Brisbane poetry map. He has read at the Queensland Poetry Festival and Clancestry. Graham received a Bachelor of Creative Arts with first class honours, and begins his Mphil in Creative Writing in July, his project being a memoir. Graham currently teaches Indigenous studies at the University of Queensland

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Custom Article Title: Poem of the Week - Alexis Lateef reads 'Girl in Fremantle Bookshop'
Custom Highlight Text: In this episode of 'Poem of the Week' Alexis Lateef reads 'Girl in Fremantle Bookshop'. ABR Editor, Peter Rose, introduces Alexis who then reads and discusses her poem.

In this episode of 'Poem of the Week' Alexis Lateef reads 'Girl in Fremantle Bookshop'. ABR Editor, Peter Rose, introduces Alexis who then reads and discusses her poem.

 

 

Girl in Fremantle Bookshop

You squirrel away musty editions of Virginia Woolf
but living in Fremantle, with its failing shops
and unstable rents, was going to hurt –
surviving on Vegemite is not sustainable.
You make do with South Beach on Sundays
and mental snapshots of the harbour at 6am.
You wheel book displays into the gaze
of coffee shops where others write.

You lie awake worrying about conversations
regarding the merit of the new Donna Tartt
with middle class housewives
who will find an excuse to buy something else.
Of course, it’s a job that attracts romantics,
who preach the only thing left to preach.
Believers and would-be lovers visit on Fridays,
bringing you chai lattes and books of their own,

 so that every time you decide to unpack
your last box, and sell your last Mills and Boon,
you walk back into the only chapel you’ll ever preside over,
and bump into someone else who loves Woolf,
who reaches calmly across the counter
and unlocks the register of your heart.

 

Alexis Lateef

 

Alexis Lateef is a Perth based writer. She has a BA (English Literature) from the University of Western Australia and has worked as a tutor, bookseller and library officer. Her work has been published in Westerly, Australian Poetry Journal, Southerly, Page Seventeen, Cordite, and other journals. She has been a guest at the Perth Poetry Festival, Voicebox, Sturmfrei, Ships in the Night, and the Perth International Writers' Festival. Alexis is the editor of Writ Poetry Review, a Perth journal that began in 2014, and occasionally runs poetry nights at Paper Mountain.

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Custom Article Title: Poem of the Week - Ali Alizadeh reads 'I ♥ (this) Life?'
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In this episode of 'Poem of the Week' Ali Alizadeh reads 'I ♥ (this) Life?'. ABR Editor, Peter Rose, introduces Ali who then reads and discusses his poem.

 

 

I this life (?)

 

For every         $10                          I produce (in, say, 30 minutes)

                           $6                           goes to the boss. Join

the club? And then

I pay                 $4                             for some crap (say, lukewarm coffee, to keep me
awake)

                                                            that cost the boss

                                                                                                  of s/he who made it

                          $1             =                I'm worse off
              by       $10                              in 30 minutes. Such

is life? My boss's bosses
demand growth, so soon

the extracted
                          $6                                 must become, say
                          $10          =                  I'll have to produce
                          $14                               in 30 minutes

to keep my job/salary
by working longer/harder. Then

of course, the owner of the cruddy coffee shop
also ogles profit, so

the watery beige rubbish in the cup
(to which I'll be sadly addicted) will cost

                           $6.                         Nota Bene: it will still cost the café captain
of industry      $1                            to produce the commodity – the exchange-

value of my or the (undertrained) barista's labour power
hasn't grown
                          so that it won't impede
capital's expansion. I'll have

had                    $19                        sucked out of me. Par

for the course? Well, I forgot

to mention: since the price of coffee
will go up & my income                           won't

I'll also be                                                    broke. The question,

then      =        for how long

I              (and you, and she, and he, and you, and they, and we

and we) will go along
with this                        kind of                               life?
The day after tomorrow

infinite growth           =           I'll have to create at least

                        $18                     in 30 minutes
                                                    to abide by boss's projections. My back
will be sore. I'll be needing
the ghastly
thing (made with expired milk) that passes for beverage
                                                    even more. It'll be
                        $8 (at least)
– I'll be         $4                        out of pocket. Nota Bene: since the hapless barista
                                                    will have been replaced by a (rusting) machine
the coffee will have cost the caffeine crook
only                 $0.5
                        =
bosses will be
                        $20.5
richer
at my expense – I'll have accumulated
                         $4             in debt                 in 30 minutes
despite being employed. Monkey

see, monkey do? Well, no. I hope not. I hope one day                we
                                                                                                                (exhausted, aching, sick)

will find it
                       historically inevitable
to say:

                       No. Fuck off. No more.

 

Ali Alizadeh

 

Ali Alizadeh's latest collection of poetry, Ashes in the Air (UQP, 2011) was shortlisted for the Prime Minister's Literary Award. His latest book is Transactions (UQP, 2013) and he lectures at Monash University.

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Custom Article Title: Poem of the Week - Alicia Sometimes reads 'Universality'
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In this episode of 'Poem of the Week' Alicia Sometimes reads 'Universality'. ABR Editor, Peter Rose, introduces Alicia who then reads and discusses her poem.

In this episode of 'Poem of the Week' Alicia Sometimes reads 'Universality'. ABR Editor, Peter Rose, introduces Alicia who then reads and discusses her poem. 

 


 

Universality

i.

From this vantage, Mercury and Mars hang parenthetical
closed sentences while the rest of the galaxy is translucent.
The stars, floating caravels in a mesmerizing battalion.

This hill, with its cape of wind and ebb of solace
allow me to reach out and stroke Jupiter's moons.
Peering into the beginnings of things.

You stand beside me in that tan, torn coat
as stellar showers squint in the dark face of time.

ii.

How large our curiosity looms.
Your knot-thick hands clasp the creases of the hardwood.
Peering up from the malt-stream deciphering knowledge perpendicular.

These figures eminent, exclamation marks to history.
You said it's important to see more than we're told to.
Here, with your camera, fragmented moments peel down like bark.

No-one can sweep Styx Valley without getting burned themselves.

iii.

Now, the moon is almost hidden
Every note from Bob Dylan's lips
falls to the ground perfectly re-formed.
Each vowel running its fingers over my back
anticipation of answers and comfort.
Lyrics, bending chronology.

Orpheus himself weeping.
Museums of disembodied hope.
Now we're talking about absolutely everything.
Hoarding hyperbole.

iv.

Simone Weil said: 'Truth is on this side of death'.
The cat is both alive and dead and looking out the window.

v.

Astronomers rarely look up at the sky.
Instruments detect invisible signals.
Lists of graphs and diagrams and numbers
chart the unknown and unheard and unsung.

You come home and warm up by the fire.
You open your mouth to say something.
Words, untamed as a strand of string.
Possibilities open like a box.

Alicia Sometimes


Alica Sometimes recently edited (with Nicole Hayes) From the Outer: Footy like you've never heard it (Black Inc.), an anthology of football stories, which was reviewed by Patrick Allington in the June-July issue of ABR.

Intro music by www.bensound.com
Music featured in 'Universality' is by Andrew Watson

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Custom Article Title: Poem of the Week - Campbell Thomson reads 'Lament for "Cape" Kennedy'
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In this episode of 'Poem of the Week' Campbell Thomson reads 'Lament for "Cape" Kennedy'. ABR Editor, Peter Rose, introduces Campbell who then reads and discusses his poem.

In this episode of 'Poem of the Week' Campbell Thomson reads 'Lament for "Cape" Kennedy'. ABR Editor, Peter Rose, introduces Campbell who then reads and discusses his poem.

 


Campbell Thomson is a Melbourne writer and barrister, whose poems have been published in Overland, Cordite, and Rabbit. He practises criminal, native title, and environmental law. He is a judicial officer for the Australian Rugby Union and a rugby tragic. He was an officer in The Black Watch in Germany and Northern Ireland. He used to talk about films on ABC local radio, and produces and acts, most recently with Othello at 45downstairs.

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Custom Article Title: Poem of the Week - Andrew Sant reads 'Tamarillos'
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In this episode of 'Poem of the Week' Andrew Sant reads 'Tamarillos'. ABR Editor, Peter Rose, introduces Andrew who then reads and discusses his poem.

In this episode of 'Poem of the Week' Andrew Sant reads 'Tamarillos'. ABR Editor, Peter Rose, introduces Andrew who then reads and discusses his poem.

 

Tamarillos

Vertigo is nowhere
where they are, and time,
too, seems suspended.
Ovoid, working on ripeness
dozens make no demands
on the branches, light,
they might be, as blown eggs,
easily out of reach among
the sunlit leaves. Tamarillos,
tree tomatoes, tomates de ârbol
or whatever name holds them aloft
in a nation's esteem, these
exotics, close to the window,
are merely mute absorbers
of birdcalls and banter,
no-one's gift to cuisine;
a slow over-the-summer
accumulation, providing
silence with a shape
like a form of percussion
never to be struck.
In their plenty, they are polished
and smooth experts
at deferment, unusually
snobbish. Elsewhere, in rows,
they're a crop. The
compelling force, it's
beneath them to address,
they hourly thwart; another lofty
thing that makes the fruit look
so perpetually good –
who'd wish to pick any? –
until the first one drops.

Andrew Sant


 

Andrew Sant was born in London, and came to Australia with his parents in 1962. He has worked in a variety of occupations, including teaching and copywriting. After relocating to Hobart in the late 1970s, Sant founded the literary magazine Island with Michael Denholm in 1979, the pair remaining as co-editors until 1990. In 1989 he was made a member of the Literature Board of the Australia Council. More recently he has lived in Melbourne, but has also spent considerable time in writer-in-residence positions overseas: he was writer-in-residence at the University of Peking, in Beijing, China, in 2001; Writing Fellow at Leicester University in the UK between 2002 and 2005, and in 2007–2008, Writing Fellow at the University of Chichester, in West Sussex, UK.

His first collection of poems, Lives, was published by Angus and Robertson in 1980. His most recent collection is The Bicycle Thief and Other Poems (2013)".

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Custom Article Title: Poem of the Week - David McCooey reads 'Fleeting: Sylvia Plath at 80'
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In this episode of 'Poem of the Week' David McCooey reads 'Fleeting: Sylvia Plath at 80'. ABR Editor, Peter Rose, introduces David who then reads and discusses his poem.

In this episode of 'Poem of the Week' David McCooey reads 'Fleeting: Sylvia Plath at 80'. ABR Editor, Peter Rose, introduces David who then reads and discusses his poem.

 

Fleeting

Sylvia Plath at 80.

I have outstayed the old millennium,
lost count of years, and jobs, and meals prepared.
My children have careers; the students of my students teach.
     I have had some fame, though
     a little is enough, I know.

In an earlier age, my youthful world conspired
to render me with fires of grief,
at which I bent, and murmured my beginner's German.
And then came, as if I'd called them up,
     the mess of childbirth,
     the bedlam of men and women.

I wrote those poems – the ones for which I'm known –
in the coldest winter for two hundred years.
The snow stretched telephone wires to the ground.

The children and I hid from the historic cold
as if hiding from a fairy-tale monster.
The monster froze the river, ground, and air,
while I outstared, through all those monochrome days,
     the gaze of that greater madness
     I'd called my calling.

Then my discovery: the deranging noise –
like bees or the airy sea – that filled my stony head
was merely fleeting, like snow, or flowers, or husbands' lies
     on crackling telephone lines.
Or the brief duration of abysmal sleep.

David McCooey


David McCooey is a prize-winning poet, critic, and editor. His latest book of poems, Star Struck, will be published by UWA Publishing in October. His debut poetry collection, Blister Pack (2005) won the Mary Gilmore Award and was shortlisted for four other major national literary awards. His second full-length collection, Outside (2011), was shortlisted for the Queensland Literary Awards and was a finalist for the 2012 Melbourne Prize for Literature's 'Best Writing Award'. His work has appeared for nine out of the last ten years in Black Inc's annual anthology, The Best Australian Poems. McCooey is the deputy general editor of the prize-winning Macquarie PEN Anthology of Australian Literature (2009), published internationally as The Literature of Australia (2009), and he is the author of a critical study on Australian autobiography, Artful Histories, (1996/2009), which won a NSW Premier's Literary Award. His poems, essays and reviews have appeared in numerous books, journals, and newspapers. McCooey is also a musician and sound artist. His album of 'poetry soundtracks', Outside Broadcast, was released in 2013 as a digital download and is available for streaming on Spotify and elsewhere. He is a professor of writing and literature at Deakin University in Geelong, where he lives.

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Custom Article Title: Poem of the Week - Bill Manhire reads 'Indexing Emily'
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In this episode of 'Poem of the Week' Bill Manhire reads 'Indexing Emily'. ABR Editor, Peter Rose, introduces Bill who then reads and discusses his poem.

In this episode of 'Poem of the Week' Bill Manhire reads 'Indexing Emily'. ABR Editor, Peter Rose, introduces Bill who then reads and discusses his poem.

 

Indexing Emily

The dead gaze back across their special days:
cloud above clover, crisis above the crow ...
Such new horizons, yet they still approach.
They know how eclipse and ecstacy edge along together:
whisper and wink of wind, but no real weather.

Between practice and prayer there's always praise.
Mist and mistakes are in the text.
And now here's the night – nobody's next – and poetry
falls from the crucifixion like a crumb, and belief
needs bells, needs bereavement. Bothersome.

Now a feather falls towards March
somehow recalling the snake above the snow.
Everything slows. All those ships
anticipating shipwreck: frigate, little boat.
Brain almost touching the bride. Sweet anecdote.

Can the simple be simplified? Our riches
ride on a riddle: rapture and rainbow
and remaining time. And now all the columns
of Love appear. No word of reproof, no sign
of rage. Love is like Death: it needs to turn the page.

Bill Manhire


Bill Manhire was New Zealand's inaugural Poet Laureate. He founded the well-known creative writing programme at Victoria University of Wellington. His most recent books are a collection of short fiction, The Stories of Bill Manhire (VUP, 2015), and a Selected Poems. He has also been writing songs with the jazz musician Norman Meehan.

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