Spineless Wonders asks Jo Langdon

An interview with Jo Langdon who lives in Geelong and is currently completing postgraduate studies at Deakin University. A chapbook of her poems, Snowline, was recently published by Whitmore Press.

Mycelia

Flash fiction experimenting with the dream state and surrealist writing techniques.

The prose poetry project

The Prose Poetry Project was created by the International Poetry Studies Institute (IPSI) in November 2014, with the aim of collaboratively exploring the form and composition of prose poetry. The ongoing project aims to produce both creative and research outcomes stemming from the resurgence of interest in the prose poem. It was initiated as a simple email exchange of prose poems between three founding members, with additional poets invited to join over the following months. There were no stipulations except that everyone was expected to write at least three prose poems within the year. At no stage was a definition of prose poetry imposed, or even suggested, despite the fact that some members of the group had never written prose poetry before. Through the process of making and sharing, however, various models emerged.The project was first showcased and discussed at an event within the Poetry on the Move festival in Canberra, 7 September 2015. At that stage, ten months from its inception, the project had accumulated over 600 poems. It ranged across four universities, two countries and eighteen poets (three of whom had yet to contribute). Six of those poets spoke at the event about the influence of the project on their personal practice, encouraged to do so in whatever manner they considered appropriate. Their various reflections, here collated, include: the challenges and delights of working within a form where all rules are suspended; the (questionable) distinction between the prose poem and flash fiction; the relationship with haibun; the nature of endings and a poem’s limits; and the way in which prose poems may elude some readers’ resistance to poetry in its more recognisable guise. In all these considerations, there is recognition of the benefits of working within a group, and of collaborative, creative play.

Flash-floods : genre subversion and the abject erotic in Dorothy Porter’s The monkey’s mask and El Dorado

When discussing her verse novels, Dorothy Porter explicitly stated that she loved to ‘write bad’. This paper will argue that it was Porter’s engagement with the verse novel form and genre subversion, most notably seen with her detective and crime thriller verse novels The monkey’s mask and El Dorado, that allows for a destabilisation of traditionally established genre conventions, which in turn provide a narrative foundation for Porter’s use of abject erotic imagery.

In both The monkey’s mask and El Dorado there are several types of ‘bodies’ to be examined: the body of the verse narrative, the bodies of the characters subjected to crime, the body of poetry that is referred to as evidence, and the abject eroticised body. Extending upon the studies of Rose Lucas (1997) and Fleur Diamond (1999), this paper contends that it is Porter’s engagement with the abject erotic, as informed by Julia Kristeva’s (1982) theory of the abject and Johanna Blakley’s (1995) discussion of the abject in relation to eroticism, that allows Porter to subvert the phallocentric limitations upheld through the crime fiction genre and offer an alternative representation for lesbian sexuality and desire.

Feudal tenure and native title: revising an enduring fiction

This article argues that the feudal doctrine of tenure continues to endure as the foundation for Australian land law despite its obvious social and historical irrelevance. The doctrine of tenure is a derivation of feudal history. The article examines some of its historical foundations with the aim of highlighting the disparity between the fiction of this inherited form and the reality of a colonial Australian landscape. Particular attention is given to the fact that Australian feudal tenure was always a passive framework. It was disconnected with the landscape and therefore incapable of responding to the needs of colonial expansion. This resulted in a clear disparity between feudal form and the reality of a land system populated by statutory grants. The article argues that feudal tenure was never truly devised as a responsive land system but rather, adopted as a sovereignty device. In this sense, legal history was utilised with the aim of promoting imperial objectives within colonial Australia. Tenure was equated with absolute Crown ownership over all Australian territory despite the fact that this was inconsistent with the orthodox tenets of feudal tenure.
The article argues that the consequence of adopting feudal tenure and absolute Crown ownership has been the estrangement of indigenous rights, title and culture. The creation and legitimisation of a land framework with a fundamentally Eurocentric perspective completely destroyed indigenous interests during the settlement and colonial era. It created an imperial ideology where colonists silently accepted the denial of indigenous identity. The decision of the Mabo High Court to reassess this historical perspective and accept the validity of proven native title claims clearly disturbed tenurial assumptions. However, the High Courts' reification of the feudal form created a fundamental paradox: indigenous title was accepted as a proprietary right within a framework incapable of and unequipped to recognise the fundamentally different cultural perspectives of customary ownership. The article argues that native title cannot evolve within a common law framework that regards ownership as a derivation of the English Crown. It is suggested that ultimately, a pluralist property culture, where indigenous and non-indigenous title exist as equalised entities, can only be properly nurtured with the full and absolute abolition of the feudal doctrine of tenure.

Marketing aboriginal art: an intellectual property fiction?

This paper argues that legality is not enough in seeking to solve the problems caused by charlatans and carpet baggers in the Australian Aboriginal art market. It examines the role of social marketing initially posited for the health sector and seeks to apply its strategies to the Aboriginal art market. The author draws comparisons between successes in health and the need for successes in the Aboriginal art market. It suggests that social marketing has been overlooked as a way forward for the Aboriginal art market. The paper concludes by stating that conditions will not change with quick-fix legal solutions sought for complex problems. They are an intellectual property fiction.