Poetry descends from the sacred : an interview with Camille Paglia

An interview with writer Camille Paglia is presented. When asked of the people she criticized in her book "Break, Blow, Burn," she says that no name is known in the second half of the book. She also mentions that there has been a estrangement from poetry's visibility in education or even for magazine and newspaper reader. She adds that compared to prose, poetry is more magical.

Powerful poetry linked with Australia

This is an obituary of the Australian poet, Rosemary Dobson (1920-2012)

Poetry, terrorism, and the uncanny : “Timothy McVeigh’s ‘invictus’”

While Timothy McVeigh—the Oklahoma City Bomber—made no verbal statement before being executed in 2001, he did offer as his ‘final written statement’ a poem (without attribution): W.E. Henley’s ‘Invictus’. This paper offers a reading of this text as ‘Timothy McVeigh’s “Invictus”’, a limit case for our understanding of poetry, quotation, and the relationship between literary and non-literary discourses. The paper will demonstrate how McVeigh’s enigmatic act of appropriation produces a poetry of the uncanny, so that categories such as ‘poet’ and ‘terrorist’ become disquietingly porous. It will also demonstrate how ‘Timothy McVeigh’s “Invictus”’ offers unexpected insights into some basic concerns of contemporary literary theory, especially with regard to quotation, obscurity, and poetic address. Lastly, it will show how ‘Timothy McVeigh’s “Invictus”’ illustrates the unpredictable ways that a supposedly marginal cultural practice—poetry—can act in times of crisis.

Fear of music : sounded poetry and the poetry soundtrack

This essay proposes the term ‘poetry soundtrack’ for a form of sounded poetry that I have been practising for some years (examples of which can be found in this issue of Axon). The poetry soundtrack is a sonic object made up of original poetry, music, and sound design. Such a form is now being produced—under various names—by numerous poets, thanks to the development of the Digital Audio Workstation (or DAW). In my essay, I argue that the poetry soundtrack has occupied an aesthetic no man’s land between avant-garde ‘sound poetry’ and documentary-style recordings of poetry readings. I propose that a general ‘fear of music’ has led critics to favour such forms, and concomitantly to ignore musico-poetic forms of sounded poetry. In addition, I analyse the ‘digital poetics’ that can be found in producing sounded poetry with a DAW, especially with regard to the ‘vocal staging’ that such technology can produce in the poetry soundtrack.

Books of the year - poetry collections

Brief review of poetry collections published in 2012

Internet administration of three commonly used questionnaires in panic research : equivalence to paper administration in Australian and Swedish samples of people with panic disorder

This study assessed the degree of equivalence between paper and Internet administration of three measures of panic and agoraphobia-related cognition and behavior: Body Sensations Questionnaire (BSQ), Agoraphobic Cognitions Questionnaire (ACQ), and Mobility Inventory (MI). Participants were 110 people with panic disorder who had registered for an Internet-based treatment program in Sweden (n = 54) or Australia (n = 56). Participants were randomly assigned to complete the questionnaires via the differing administration formats in a counterbalanced order. Results showed broadly equivalent psychometric properties across administrations, with strong significant intraclass correlations between them, and comparable Cronbach's alpha coefficients. A significant mean difference between administration formats was found for the BSQ only. In contrast to previous research, Internet administration did not generate higher scores than paper administration. No effect was found for order of administration. The findings suggest that each questionnaire can be validly administered via the Internet and used with confidence.

(Un)belonging in Australia : poetry and nation

What kind of appetite does poetry have for creating new discourses about the nation? This essay will ask if poetry can re-imagine and rewrite what are often oppressive and exclusionary national discourses, asking how – historically and in contemporary work – poetry has been concerned with national forms of belonging and unbelonging. Further, the essay will ask whether Australian poetry is able to generate new and even hopeful language in which to think about the nation.

Spirit-music unbound: Romanticism and print politics in Australian women's poetry 1830-1905

This thesis presents a re-mapping of Australian poetic tradition to reflect the presence of colonial women poets. The research recovers a wide range of neglected poetry, offering a new way of reading these important poets as politic and transnational, particularly through the significance of newspaper authorship and international women’s poetry.

Behind the eyes: poetry of witness

 A review of Susie Utting's poetry collection, Flame in the Fire, 2012.

Borrowings; or ways of making poetry by taking, working and returning: a study in creative practice

The collaborative poetry project ‘Borrowings’ investigates and theorises some of the processes of poetic composition. Two collaborators, by making use of incepts from each other's work, have generated new poems by exploring the nature of intertextual genesis. This paper presents key ideas generated by this activity and, in doing so, applies Deleuze's analysis of games to its consideration of the nature of poetic composition, along with his contention that ‘[t]o pass to the other side of the mirror is to pass from the relation of denotation to the relation of expression … It is to reach a region where language no longer has any relation to that which it denotes’. The project explores some of the ways in which poetry makes ‘sense’, both to the writer and reader; as well as questioning the extent to which poetry depends on its author's ‘decision’ about what to write. It also teases out some of the implications for how we understand authorship if authorial decisions may be generated by incepts of one kind or another that occur to the poet apparently randomly, or may be given to them by a line or phrase that they encounter while reading. This paper's ultimate wager, and one put to the test in the project itself, is that limitation has an expansive effect on the generation of creative work.