DOCSLIB.ORG

2016 Toby Fitch Thesis.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
2016 Toby Fitch Thesis.Pdf THEMPARKS: ALTERNATIVE PLAY IN CONTEMPORARY AUSTRALIAN POETRY A thesis submitted in ful@ilment of the requirements for the degree of Doctor of Arts in the Department of English at The University of Sydney Toby Fitch 2016 THEMPARKS: ALTERNATIVE PLAY IN CONTEMPORARY AUSTRALIAN POETRY POEMS & ESSAYS BY TOBY FITCH © Copyright by Toby Fitch 2016 All Rights Reserved ABSTRACT Themparks is a creative and critical thesis consisting of a book of poems—The Bloomin’ Notions of Other & Beau—and two experimental essays that illuminate the praxis behind the book of poems, not by auto-critique, but via a study of other contemporary Australian poets whose poetry involves similar compositional approaches. The Bloomin’ Notions of Other & Beau hijacks the prose poems of Arthur Rimbaud’s famously incomplete manuscript Illuminations and re-verses their content—a “Down Under conceit”—to create “inversions”, radically new poems that are ludic and multiple in form, that complicate authorial subjectivity by employing various methods of (mis)translation and appropriation, and whose subject matter re@lects and refracts political and personal fragmentation in twenty-@irst century Australia. “Themparks”, the @irst critical essay, is a divagation into thempark by contemporary Australian poet Michael Farrell, the poems of which transpose/depose the structures of poems by John Ashbery; “Themparks” also analyses John Ashbery’s translations of the Illuminations of Arthur Rimbaud via a re-reading of Rimbaud’s famous formulation, “I is an other” (Je est an autre). “Aussi/Or”, the second critical essay, is a disquisition on Stéphane Mallarmé’s late innovative poem Un Coup de dés and its various antipodean versions and (mis)translations written by Christopher Brennan (in 1897), Chris Edwards and John Tranter (both in 2006). Both essays/assays explore the (anti)genre of poetic rewritings of previous poems; both trace certain homosocial poetic lineages from self-consciously “experimental” contemporary Australian poets back through American and Australian postmodernists to early modernist French poets; both raise/raze issues of translation, appropriation, plagiarism, and reproduction while employing—metonymically—some parallel theoretical tropes from psychoanalysis, linguistics, philosophy, and science. The guiding thread—the =il conducteur latent in Mallarmé—between the creative and critical components of this thesis is a poetics of the pun. The pun’s promiscuity highlights the highly libinal nature of language-tampering while working to both associate and dissociate parataxis and parapraxis. !iv ACKNOWLEDGEMENTS I would like to thank my supervisors David Brooks and Bruce Gardiner for their time and advice, and Chris Edwards, Michael Farrell and John Tranter for conversing with me about their poetry at various stages over the last few years. I would also like to thank Frances Simmons for her love and support, and Evie, who, arriving in the @inal year of the writing of this thesis, made her own unique contribution to my understanding of the generative capacities of language as well as the impact of sound on personal fragmentation. This Doctor of Arts thesis was supported by an Australian Postgraduate Award. With the help of a Travelling Scholarship from the University of Sydney I was able to travel for research and writing purposes to the Bibliothèque Nationale in Paris, the Musée Charleville, the Musée Rimbaud and La Maison des Ailleurs in Charleville-Mézières, the Musée départemental Stéphane Mallarmé in Vulaines-sur-Seine, and the Guillaume Apollinaire museum in Abbaye de Stavelot, Belgium. Thanks to each of these institutions for their time and assistance without which this thesis would not have taken the shape it has. !v CONTENTS Introduction …………………………………………………………………………………… ix›› PART I The Bloomin’ Notions of Other & Beau: Poems …………………………………… 1 PART II Themparks: Michael Farrell transposing John Ashbery translating Rimbaud I. Introduction ……………………………………………………………………… 84 II. Michael Farrell: thempark ………………………………………………….. 92 III. John Ashbery: Illuminations ……………………………………………….. 130 IV. Coda ………………………………………………………………………………….. 141 Aussi/Or: Un Coup de dés and mistranslation in the Antipodes I. Introduction ………………………………………………………………………. 147 II. Exposition ………………………………………………………………………….. 154 III. Christopher Brennan: “Musicopoematographoscope” ………….. 163 IV. Chris Edwards: “A Fluke” …………………………………………………….. 169 V. John Tranter: “Desmond’s Coupé” ……………………………………….. 181 VI. Development ……………………………………………………………………… 186 VII. Recapitulation ……………………………………………………………………. 212 VIII. Coda ………………………………………………………………………………….. 218 Bibliography …………………………………………………………………………………… 228 !vi LIST OF ILLUSTRATIONS Cover: Sidney Nolan, Luna Park, 1941, Sydney: Art Gallery of NSW, http:// www.artgallery.nsw.gov.au/collection/works/35.2003/. THE BLOOMIN’ NOTIONS OF OTHER & BEAU Figure 1. Toby Fitch, “Self Portrait”, 2014, manipulated by Google “deep dream” image generator Dreamscope, https://dreamscopeapp.com/editor (photograph taken at La Maison des Ailleurs, Charleville, in which Arthur Rimbaud lived brie@ly). Figure 2. “Paraid”, collage, after Rimbaud’s Parade (and Ashbery translation). Figure 3. “Ponce”, collage, after Rimbaud’s Ponts (and Ashbery trans.). Figure 4. “Villainesque”, collage, after Rimbaud’s Villes I & II (and Ashbery trans.). Figure 5. “Flooze”, collage, after Rimbaud’s Fleurs (and Ashbery trans.). Figure 6. “On Gwass”, collage, after Rimbaud’s Angoisse (and Ashbery trans.). Figure 7. “Night Drips”. Figure 8. “Dig”, collage. THEMPARKS Figure 1. “Random Noise Theme Park”, Google “deep dream” image, 2015, Google Research Blog: http://googleresearch.blogspot.com.au/2015/06/ inceptionism-going-deeper-into-neural.html. Figure 2. Gherardo de Jacopo Starnina, Thebaid, 1410, Florence: Uf@izi Gallery, http://[email protected]/thebaid.html. Figure 3. Henri Fantin-Latour, Le Coin de Table, 1872, Paris: Musée d’Orsay, http:// www.musee-orsay.fr/en/collections/index-of-works/notice.html? no_cache=1&nnumid=211&cHash=d91f2e93d6. !vii Figure 4. Le Coin de Table, manipulated by deep dream image generator Dreamscope, 2015. Figure 5. Giorgio de Chirico, The Anxious Journey, 1913, New York: Museum of Modern Art, http://www.moma.org/collection/works/78736?locale=en. Figure 6. “Cats are Liquids”, popular cat meme, 2015, Weird Nut Daily, http:// www.weirdnutdaily.com/6q1. Figure 7. “Cloud”, and Google deep dream transformation, Google Research Blog. Figure 8. “Dog Nebula”, Google deep dream manipulation, 2015, We Hunted the Mammoth, http://wehuntedthemammoth.com/2015/07/07/face-in-a- cloud-how-ideologues-are-like-googles-deep-dream-neural-networks/. Figure 9. “Random Noise Pagodas”, deep dream image, Google Research Blog. Figure 10. Beate Dalbec, photograph of Bagan, ancient city of Burma, 2012, http:// beatedalbec.com/2012/01/23/the-ancient-city-of-bagan/. Figure 11. Blaine Harrington, photograph of Dakota Badlands National Park, 2011, http://blaineharrington.photoshelter.com/image/I0000q8JM.RXGjMA. Figure 12. Giorgio de Chirico, The Double Dream of Spring, 1915, New York: Museum of Modern Art, http://www.moma.org/collection/works/ 78956?locale=en. Figure 13. Étienne Carjat, “Portrait of Rimbaud”, 1871, manipulated by deep dream image generator Dreamscope. AUSSI / OR Figure 1. Nicholas Desprez, “Lorenz Attractor”, Chaoscope, 2009, http:// www.chaoscope.org/gallery.htm . Figure 2. “Brownian Motion”, gif, in “Brownian Motion”, Wikipedia, https:// en.wikipedia.org/wiki/Brownian_motion. Figure 3. Christopher Brennan, title page of “Musicopoematographoscope”, Prose- Verse-Poster-Algebraic-Symbolico-Riddle Musicopoematographoscope …, Erskineville: Hale & Iremonger, 1981 (photo taken on mobile phone). Figure 4. Brennan, last line of “Musicopoematographoscope” (photo taken on mobile phone). !viii Figure 5. Paul Bourke, “The Lorenz Attractor in 3D”, 1997, http://paulbourke.net/ fractals/lorenz/. Figure 6. “Casper the friendly ghost, and cat”, screenshot from Casper the Friendly Ghost, New York: Famous Studios, 1945. Figure 7. pro@killjoy7z, “Unicron Eats the Death Star”, 2012, Deviant Art: http:// [email protected]/art/Unicron-Eats-the- Deathstar-325554426. Figure 8. “Disney’s Chesire Cat”, screenshot from Alice in Wonderland, Burbank: Walt Disney Studios, 1951. Figure 9. Konrad Polthier, “Klein bottle”, gif, in “Imaging Maths—Inside the Klein Bottle”, Plus Magazine (2003): https://plus.maths.org/content/os/ issue26/features/mathart/kleinBottle_anim. Figure 10. “Timescape” of Arthur Rubinstein's 1939 recording of Chopin’s Mazurka Op. 68 No. 3, CHARM: AHRC (2009): http://www.charm.rhul.ac.uk/ projects/p2_3_2.html. Figure 11. Dušan I. Bjelić, “Freud’s Chemistry of Words”, in “Balkan Geography and the De-Orientalization of Freud”, Journal of Modern Greek Studies 29.1 (2011): 37. Figure 12. Theodoros Pelecanos, Ouroboros, drawing in a 1478 copy of a lost alchemical tract by Synesius, Wikipedia, https://en.wikipedia.org/wiki/ Ouroboros. Figure 13. Caravaggio, Head of Medusa, 1597, Florence: Uf@izi Gallery, http:// [email protected]/medusa.html. Figure 14. Athanasius Kircher, “Map of the ‘lost’ island of Atlantis”, Mundus subterraneus, Amsterdam, 1665, 82, Rare Maps: https:// www.raremaps.com/gallery/detail/20754. !ix INTRODUCTION This Doctor of Arts thesis, Themparks, consists of a creative component—a book of forty-three poems called The Bloomin’ Notions of Other & Beau—followed by a critical component comprising two long essays, “Themparks” and “Aussi/Or”. The essays illuminate the praxis
Load more

Recommended publications
  • Laurie Duggan Was Born in Melbourne in 1949 and Currently Lives in Brisbane
    Laurie Duggan was born in Melbourne in 1949 and currently lives in Brisbane. He has published eleven previous books of poems including The Ash Range, winner of the Victorian Premier’s New Writing Award, the second edition of which is republished by Shearsman Books simultaneously with this volume. His cultural history Ghost Nation: Imagined Space and Australian Visual Culture 1901-1939 was published in 2001. He is an Honorary Research Advisor at the Centre for Australian Studies, University of Queensland. East: Poems 1970-74 (1976) Under the Weather (1978) Adventures in Paradise (1982, 1991) The Great Divide, Poems 1973-83 (1985) The Ash Range (1987; 2nd edition, 2005) The Epigrams of Martial (1989) Blue Notes (1990) The Home Paddock (1991) Memorials (1996) New and Selected Poems, 1971-1993 (1996) Mangroves (2003) Ghost Nation (2001) Selected Poems 1971-2003 First published in the United Kingdom in 2005 by Shearsman Books 58 Velwell Road Exeter EX4 4LD http://www.shearsman.com/ ISBN 0-907562-61-2 Copyright © Laurie Duggan, 1971-2005. The right of Laurie Duggan to be identifi ed as the author of this work has been asserted by him in accordance with the Copyrights, Designs and Patents Act of 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Front cover illustration shows the author’s father (on the right) dressed for a part in a school Shakespeare production in the early 1920s.
    [Show full text]
  • Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
    A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas.
    [Show full text]
  • Dreamscapes - CD1 - Dream Machine Intro 1998 - 4:44
    Dreamscapes - CD1 - Dream Machine Intro 1998 - 4:44 I'm your best friend, the dream... I'm your best friend, the dream Without a doubt I'm your best friend, the dream You need a friend, without a doubt I wonder why you came around Are you awake, or do you dream? You're stuck inside a frozen scene I'm your best friend, the dream... Dreamscapes - CD1 - In The Mood - 1983, Demo remix - 5:04 He's in the mood to touch the fire He's in the mood to touch everything you are He's in the mood to touch the fire Touch the fire, touch the fire Jacky's locked in a silent dream He's watching movies on the TV-screen He feels unsteady lights a cigarette He's getting mellow in his cabinet Oh, Jacky, when everything goes wrong Get ready, for you've got to be so strong It's so supersensual, sentimental Dial that cipher in your tears, The number to the golden year You've got to touch the fire Wake up little boy You've got to play with fire Wake up, you've got to... You've got to play with fire Jacky hears it, is it her or not ? His eyes are burning 'cause the brain's too hot He's sitting calmly on a swivel chair There's something coming from the upper stairs Now listen to me Jacky, you were always So lonesome in that quiet lonely house High on the hill Just come... come and meet me You know where and we'll take a nice holiday Back in the old, old days of happiness - Oh, Jacky, when everything goes wrong..
    [Show full text]
  • Notes on Contributors, Index
    Kunapipi Volume 20 Issue 3 Article 44 1998 Notes on Contributors, Index Anna Rutherford Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Rutherford, Anna, Notes on Contributors, Index, Kunapipi, 20(3), 1998. Available at:https://ro.uow.edu.au/kunapipi/vol20/iss3/44 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Notes on Contributors, Index Abstract NOTES ON CONTRIBUTORS, Index This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol20/iss3/44 Notes on Contributors 165 NOTES ON CONTRIBUTORS AI's books include the forthcoming Vice(new and selected poems) and Greed(1993). She has won many prizes, including a Guggenheim Fellowship and two NEA's. GILLIAN ALLNUTI has published four collections, Spitting the Pips Out (Sheba, 1981), Beginning the Avocado (Virago, 1987), Blackthorn (Bloodaxe, 1994) and Nantucket and the Angel (Bloodaxe, 1997). She is the author of Berthing: A Poetry Workbook (NEC/Virago, 1991) and co-editor of The New British Poetry (Paladin, 1988), and was formerly poetry editor of City Limits. She lives in Co. Durham. JOHN ASHBERY is Professor of English Literature at Bard College. He has been the recipient of the Pulitzer Prize, the National Book Award, and the National Book Critics' Circle Award. His most recent volume is Wakefulness. ANDY BROWN's recent poetry books are The Wanderer's Prayer (Arc 1999) and West of Yesterday (Stride, 1998). A selection appears in Vital Movement (Reality Street Editions, 1999).
    [Show full text]
  • [T]He Poet Would Define the Amount of the Unknown Awakening in His Time in the Universal Soul
    [T]he poet would define the amount of the unknown awakening in his time in the universal soul.... Poetry.. .will be in advance. Arthur Rimbaud. (Tijverything in the world exists to end in a book. The qualities required in this work - most certainly genius - frighten me as one of those devoid of them: not to stop there, and granted that the volume requires no signatory, what is it? - the hymn of the connexions between all things, harmony, and joy, entrusted with seeing divinely because the bond, limpid at will, has no expression except in the parallelism of leaves of a book before his glance. Stephane Mallarme [rjt's a faith in what used to be called in old Victorian novels 'the Divine Mystery.' I can't find a better word for it, because it is a mystery to me. All I know is that it pours down love.. .[and] I worship that with my uttermost being. Bruce Beaver 2 Introduction For critics of recent contemporary Australian poetry, the term 'New Poetry' sug• gests primarily the work of those poets published in John Tranter's 1979 anthology, The New Australian Poetry.1 According to Tranter these twenty-four poets, only two of whom are women, formed a 'loose group'2 of writers associated with various poetry readings, little magazines and small presses in Sydney and Melbourne during the late sixties and seventies.3 Although there were many little magazines and small presses associated with the period, and earlier anthologies which had gathered together achievements of the New Poets,4 to a significant extent Tranter's anthology has circumscribed for critics the boundaries of the New Poetry group, and those poets published in the anthology have attracted a measure of critical acclaim.
    [Show full text]
  • Unit 4 Literary Beginnings - Oral Literature
    UNIT 4 LITERARY BEGINNINGS - ORAL LITERATURE Structure 1.0 Objectives 1.1 Oral Literature - A Contradiction in Terms 1.2 Aboriginal Traditions 1.3 Cohnial Traditions 4.3.1 Convict Traditions 4.3.2 Bush Traditions 1.4 Let Us Sum Up 1.5 Questions 1.6 Works Cited 4.0 OBJECTIVES This section will introduce certain aspects of the oral traditions within the Aboriginal and early settler communities. Two broad aims of this section are to show the need to broaden the traditional boundaries of 'Literature' to include oral traditions and to show how they have influenced the more conventional forms of written literature in Australia. The fact that the phrase 'oral literature' seems like a contradiction in terms tells us about the assumptions that have become connected with the word 'Literature' in academic and cultural discussions. Though in most cultures the narrative traditions that eventually developed into written forms have had a very strong oral aspect, the inclusion of literary studies at different levels of education, with the emphasis on the printed word, has often led to this aspect being ignored. This has been felt even within literary studies programmes, especially in relation to genres such as Orma and poetry. A purely text-centred focus in these cases takes away inuch from those aspects of these forms, which deal with performance and the spoken word. Literature has also become in certain circumstances a term implying superiority in relation to popular cultural forms. Oral forms such as Aboriginal song cycles, colonial ballads and bush songs are often seen to fall outside the scope of literary studies on the grou~ldsof their oral nature as well as their origins in folklore or so- called popular culture.
    [Show full text]
  • The Year That Was
    Kunapipi Volume 2 Issue 1 Article 18 1980 The Year That Was Anna Rutherford University of Aarhus, Denmark Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Rutherford, Anna, The Year That Was, Kunapipi, 2(1), 1980. Available at:https://ro.uow.edu.au/kunapipi/vol2/iss1/18 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] The Year That Was Abstract Australia It's been a year for the bizarre in Australian fiction: a transvestite who is a Byzantine empress/ station hand/ whore-mistress; a narrating foetus; a plantation owner who takes you out at night to wrestle renegade pineapples to the ground; characters with words stamped on their foreheads and one with a coffin owinggr out of his side ... This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol2/iss1/18 The Year That Was AUSTRALIA It's been a year for the bizarre in Australian fiction: a transvestite who is a Byzantine empress/ station hand/ whore-mistress; a narrating foetus; a plantation owner who takes you out at night to wrestle renegade pine­ apples to the ground; characters with words stamped on their foreheads and one with a coffin growing out of his side ... Little did Synge know when he said there should be material for drama with all those 'shepherds going mad in lonely huts'! The theme of the year's most remarkable book, Patrick White's The Twybom Affair Oonathan Cape) is caught early when one of its charac· ters remarks, 'The difference between the sexes is no worse than their appalling similarity'.
    [Show full text]
  • Calicut University M.A (English) Question Papers 2019
    School of Distance Education UNIVERSITY OF CALICUT School of Distance Education AMERICAN LITERATURE Core Course of MA English II Semester (2019 Admn.) Multiple Choice Question Bank 1. What time does the poem “The Raven” take place? A. Midnight B. Noon C. Dawn D. Morning 2. When the author first heard the "rapping at his chamber door," in “The Raven”, who did he think was outside? A. His neighbour B. The raven C. Pluto D. Some late night visitor 3. In what month does the poem “The Raven” take place? A. December B. January C. October D. February 4. What is the name of the "rare and radiant maiden" for whom the author mourns in “The Raven”? A. Annebelle B. Lenore C. Pluto D. Lydia 5. What happens when the author opens the door in “The Raven”? A. The raven flies in B. He screams C. He only sees darkness D. He sees Lenore standing outside 6. What word does the raven say whenever he speaks? A. Quoth B. Prophet C. Nevermore D. Lenore 7. Where does the raven perch when he comes into the house? A. On the door frame B. On the mantle above the fireplace C. On a bust of Pallas D. On the chair 8. What was the author doing at the beginning of the poem “The Raven”? A. Eating dinner B. Reading a book C. Cutting his toenails D. Writing a letter 9. The raven is a symbol of A. Birds B. Happiness C. Boredom D. Death 10. How did the raven get into the house? A.
    [Show full text]
  • Biographical Information
    BIOGRAPHICAL INFORMATION ADAMS, Glenda (1940- ) b Sydney, moved to New York to write and study 1964; 2 vols short fiction, 2 novels including Hottest Night of the Century (1979) and Dancing on Coral (1986); Miles Franklin Award 1988. ADAMSON, Robert (1943- ) spent several periods of youth in gaols; 8 vols poetry; leading figure in 'New Australian Poetry' movement, editor New Poetry in early 1970s. ANDERSON, Ethel (1883-1958) b England, educated Sydney, lived in India; 2 vols poetry, 2 essay collections, 3 vols short fiction, including At Parramatta (1956). ANDERSON, Jessica (1925- ) 5 novels, including Tirra Lirra by the River (1978), 2 vols short fiction, including Stories from the Warm Zone and Sydney Stories (1987); Miles Franklin Award 1978, 1980, NSW Premier's Award 1980. AsTLEY, Thea (1925- ) teacher, novelist, writer of short fiction, editor; 10 novels, including A Kindness Cup (1974), 2 vols short fiction, including It's Raining in Mango (1987); 3 times winner Miles Franklin Award, Steele Rudd Award 1988. ATKINSON, Caroline (1834-72) first Australian-born woman novelist; 2 novels, including Gertrude the Emigrant (1857). BAIL, Murray (1941- ) 1 vol. short fiction, 2 novels, Homesickness (1980) and Holden's Performance (1987); National Book Council Award, Age Book of the Year Award 1980, Victorian Premier's Award 1988. BANDLER, Faith (1918- ) b Murwillumbah, father a Vanuatuan; 2 semi­ autobiographical novels, Wacvie (1977) and Welou My Brother (1984); strongly identified with struggle for Aboriginal rights. BAYNTON, Barbara (1857-1929) b Scone, NSW; 1 vol. short fiction, Bush Studies (1902), 1 novel; after 1904 alternated residence between Australia and England.
    [Show full text]
  • Guide to Sydney Beaches Is an Invitation to Explore the Greater Sydney Coastline Through Poetry
    Wamberal Copacabana Bradleys Palm Narrabeen Dee Why Manly Chinamans Balmoral Bondi Tamarama Bronte Clovelly Coogee Little Congwong Cronulla Garie Stanwell Austinmer Thirroul Pacific Notion Featuring writing by: Susan Adams, Karina Barker, John S Batts, Margaret Bradstock, Colleen Z Burke, joanne burns, Jane Connors, Brook Emery, Penelope Evans, David Falcon, Jean Frances, Denis Gallagher, Amelia Gledhill, Linda Godfrey, Alan Jefferies, jeltje, Carol Jenkins, Rae Desmond Jones, S. K. Kelen, Martin Langford, Justin Lowe, Susan McCreery, Paula McKay, Peter J F Newton, jenni nixon, Mark O'Flynn, Margo Ruckert, Brenda Saunders, John Tranter & Les Wicks. Photography from: Kris Calhoun, Christopher Jones, Alexander Kesselaar , Laurence Owen-Ross & Rick Warr. CONTRIBUTORS ABOUT Archived in Pandora Includes the winner of the Bondi Line Competition, a part of Waverley Words sponsored by Waverley Council. Wamberal Justin Lowe Wamberal I have an enormous respect for fishermen forget about the hook for a minute try to remember…. on a beach washed clean their utter inevitability barely a word barely a movement wave after wave dying at their feet time passing like this how they seem to be playing a dirty game with the world standing there with the whole ocean at their feet they choose to slowly drown in the earth from: Try Laughter (DeadPan Press, 2000) Photograph by Christopher Jones Copacabana David Falcon BEACH MARGINS the sea isn't always to the east should be but fools us laying in bays around headlands it's doing that now as the sun shines lengthways
    [Show full text]
  • Front Matter Antipodes Editors
    Antipodes Volume 10 | Issue 2 Article 1 1996 Front Matter Antipodes Editors Follow this and additional works at: https://digitalcommons.wayne.edu/antipodes Recommended Citation Editors, Antipodes (1996) "Front Matter," Antipodes: Vol. 10 : Iss. 2 , Article 1. Available at: https://digitalcommons.wayne.edu/antipodes/vol10/iss2/1 Antipodes A North American Journal ______ of Australian Literature____________ The Publication of the American Association of __________ Australian Literary Studies__________ DECEMBER 1 996 American Association of Australian Literary Studies ANNOUNCES A CALL FOR PAPERS FOR ITS TWELFTH ANNUAL CONFERENCE CONFERENCE THEME “ Issues in Australian Literature — Many Cultures/Many Connections” Proposals for papers 15-20 minutes in length MUST BE SUBMITTED TO THE CONFERENCE CHAIR by 15 February 1997. Membership in the AAALS is required FOR THOSE PRESENTING PAPERS. Twelfth Annual AAALS Conference DIRECT INQUIRIES & PAPER PROPOSALS TO 1-4 May 1997 Conference Chair Dalhousie University J. A. Wainwright Halifax, Nova Scotia Department of English Canada Dalhousie University Halifax, Nova Scotia special guest: Mudrooroo Canada B3H 3J5 TELEPHONE—902/494-3384 FAX—902/494-2176 Editor Robert Ross Edward A. Clark Center Antipodes A North American Journal for Australian Studies of Australian Literature University of Texas at Austin The Publication of the American Association of Managing Editor Australian Literary Studies Marian Arkin City University of New York LaGuardia College Fiction Editor December 1996 • Vol. 10 • No. 2 Ray Willbanks University of Memphis POETRY Poetry Editor Paul Kane Vassar College 84 Two poems — Sea-Shells, Wanderlust, Reviews Editor Dorothy Hewett Nicholas Birns The New School for Social Research 89 Wadi, Louis Armand 91 Liquid Thermostat, Lorraine Marwood Editorial Advisory Board Ian Adam, University of Calgary; 93 The Pleat, Rhyll McMaster Jack Healy, Carleton University; 95 Scar on the First Day I Met You, Lucy Dougan Herbert C.
    [Show full text]
  • Dreamriser; Writing the Postcolonial Body in Les Murray's Fredy Neptune
    WRITING THE POSTCOLONIAL BODY IN LES MURRAY’S FREDY NEPTUNE; DREAMRISER A Thesis Submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities Year of Submission: 2012 Sarah Corbett School of Arts, Languages and Cultures Contents Page Abstract 3 Declaration 4 Copyright Statement 5 Acknowledgments 6 Dreamriser Book One: The Runner 8 Book Two: Pinky 43 Critical Reflection: On Dreamriser, Fredy Neptune and the Verse Novel 86 Critical Essay: Writing the Postcolonial Body in Les Murray’s Fredy Neptune Introduction 93 Historical Bodies 108 Embodiment, Wholespeak and the Poeme 125 Postcolonial Bodies 144 Gendered Bodies 168 Conclusion 192 Bibliography 196 Word Count: Creative: 14, 508 Critical: 30, 674 2 Abstract This thesis is presented in two parts. The first part, Dreamriser, is a verse-novel in two books, the second part a critical essay, ‘Writing the Postcolonial Body’ in Les Murray’s 1997 verse-novel Fredy Neptune. Dreamriser is split into two books. In ‘The Runner’ Felix Morning wakes on a backstreet of a strange city with no memory of who he is. Flick shows him the way to The Bunker, an underground club where he meets the Dreamriser, a mysterious woman he half remembers. She gives him a parcel he must deliver to the place of the lost things. In ‘Pinky’ Iain and Esther meet on a train and they start a love affair. Damaged by her experience with men, Esther has been sent by the Dreamriser cult to take her revenge. When she falls in love with Iain she must make a choice between destruction and union.
    [Show full text]