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Deb Westbury cNº4 1998 ISSNo 1328-2107 r d i t e Poetry and Poetics Review $ Denis Mizzi, Untitled. 5 Adam Aitken interviews Martin Harrison Kevin Hart on Experience and Transcendence and the poetry of Tomas Tranströmer Simon Patton on Jennifer Compton’s hammer! Adam Aitken Interview with Martin Harrison 3 CORDITE Poetry and Poetics Review A quarterly review of Australian poetry Kevin Hart Experience and Transcendence– the poetry of Tomas Tranströmer 10 Publisher CORDITE is published by CORDITE PRESS INC. Simon Patton Compton’s Hammer 23 Editors Adrian Wiggins, Margie Cronin & Chris Andrews Mortal 15 Jennie Kremmer Review Editors Margie Cronin & Dominic Adrift 15 Fitzsimmons John Ashbery The Pathetic Fallacy 4 Interview Editor Bruce Williams Performance Editor Phil Norton Paola Bilbrough Canvastown 13 Picture Editor Sue Bower Peter Boyle Everyday 14 Managing Editor Adrian Wiggins Two translations of Octavio Paz 21 Associate Editor Britta Deuschl Founding Editors Peter Minter & Adrian Wiggins joanne burns shelf life 4 Special Thanks The Arts Law Centre, Richard truce: the humid handshake 19 Mohan, Ivor Indyk, Allan Dean. Jennifer Compton Safe House 22 Printer Marrickville Newspapers Tricia Dearborn schlieren lines 8 18–22 Murray St, Marrickville NSW 2204 Dan Disney Two poems 6 Subscription You can receive four issues of CORDITE at only $20 Keri Glastonbury Rent Boy 8 for humans or $40 for institutions. Send a cheque or Pulp 10 money order payable to CORDITE PRESS INC at the address below. Philip Harvey Q 20 Contribution Z back cover Contributions of long articles, essays or interviews should be discussed with the editors before submis- Lisa Jacobson Evolutionary Tales Nº1: sion. Contributions of poems, reviews and news, Flight and distant travel 23 should include a short biographical note, and can be sent to: Andy Kissane On the highway 5 The Editors Emma Lew Now,Some Facts 15 CORDITE PO Box A273 John Mateer Towards Wilpeena Pound, South Australia 8 Sydney South NSW 1235 Denis Mizzi Untitled front cover AUSTRALIA Untitled 9 We can only respond to materials that are accompa- nied by a stamped self-addressed envelope. Kevin Murray Story 17 Simultaneous submissions or previously published material will not be accepted. Patricia Prime Artist at work 7 Minimum Payment Brian Purcell Rita Coolidge Plays Mt Druitt 11 Poems $50 Illustrations, photographs $50 Debbie Robson The Lighthouse 17 Articles, essays, reviews $50 Published Letters $10 Graham Rowlands The State of the Union 16 Contributors will also receive a complimentary copy Brendan Ryan Argyle St 6 of the issue of CORDITE in which their work appears. Gig Ryan Rameses 3 Copyright Nick Reimer Unrecorded 16 Copyright of each work published in CORDITE reverts to its author upon publication. Except for the purposes of fair Michelle Taylor Paris 11 dealing and research no part of this publication may be Dara Weir The White Boat 14 reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission of Zhu Wen bend over eat grass the author and the publisher. translated by Simon Patton 18 Disclaimer Reviews and articles published in CORDITE are accepted Deb Westbury Metropolis 7 for publication on the understanding that they do not nec- essarily reflect the opinions of the editors or the pubisher Yu Xinjiao Benediction unless otherwise stated, and on the understanding that translated by Simon Patton 19 they represent and promote fair discussion and commen- tary on Australian poetry. Ouyang Yu untitled for a number of times already 9 The Other Eye 9 Matthew Zapruder Unfortunately I’m Dead 12 Editorial & Letters 13 Reviews 14 Contributors 23 CORDITE PRESS INC acknowledges the assistance of the Australia Council for the Arts in the form of a Foundation Grant, and the New South Wales Government Ministry for the Arts for funding to pay contributors. 1998 Nº4 / p3 The aerial view . Adam Aitken interviews Martin Harrison artin Harrison’s latest nature of local experience. In the poem I want- book is KANGAROO FARM, ed to bring out the aural and the hearing basis released by Paperbark of Robinson’s own work. I regret never having M managed to record him, do what we’re doing Press in mid-1998. He speaks here with Adam Aitken about his and record his conversation. He would move work... from talking into poetry and poetry into talking. He spent a lot of time travelling up and down AA How has your work in radio influenced your New South Wales–the south coast and north thinking in poetry? coast and some of the inland areas–during and MH I’ve always been interested in electronic after the war, travelling and meeting mainly media and I also realised early on that I would local Aboriginal people and writing down their work in radio–it has all sorts of connections in stories. my life to do with childhood; radio is often a AA There’s a sense that in your poetry the childhood experience for people. Your love of “I”–the poet–is on a pilgrimage through various things starts there. Also because I feel that a landscapes–a pastoral surface–but not in the Gig Ryan lot of writing is just not for the page. Writing is way David Campbell writes pastoral. What’s something that goes on in film and television, your sense of writing the Australian landscape Rameses and other forms of electronic media as well. as a certain unravelling of myths rather than a It’s part of the environment I live in. reinforcement of, say, the country-city divide? Pillar after pillar towers my name. You seem to use images in a linear way, Not all of these could express the life I feel AA MH That dialectic has worn itself out. I’m not as TV would. denying that there are regional differences in flash through me. MH Yes. I am trying to write poetry that lives in Australia, city Australians underestimate that. My ideas span the earth the same world as watching TV, listening to City-based Australians have very little under- standing of what the place looks like from radio and watching movies. And I’ve been think- but now tours litter at my feet ing a lot about what the poetic image means some of the bush areas. But I agree I’m not these days–the classic Horatian definition of interested in arguing that the country is a kind folding their waxy guides. pictoria poesis has to be rethought from gener- of idyllic space. I’m interested in talking about ation to generation. I’m trying to make my work the country as no less a technological invention Here, I watch life fall apart in front of me coexist with contemporary ways of perception. than urban space. It’s an aspect that’s con- as we hurtle towards death. I’m interested in the kind of detail that the stantly underestimated. Its importance is not camera can provide that the writer can be inti- understood. It seems to me that in this country I hope you’ll last mate with. If you take a room or a scene or a you have got to have a many-levelled sense of but every monument freezes. person there is something about the way those place. I know this can be very troublesome, images cover the object, and something about because memory and attachment is many lev- w the lingering attention you can give to what’s elled but not in the sense that there be several produced there. It defines a different stories running side contemporary sensibility. I by side. I mean your attach- My Anatolian agent writes to complain like that kind of attentive- ment to a house or a room or of my negative review. ness. a view is yours and it res- Words cut me to the bone, onates in a thousand different AA People think that the ways. But that is a little differ- way TV and radio influence ent form what I’m saying, I wear what I wore to your wedding poetry is a very contempo- which is that you have got but then the day glittered in sunlight. rary phenomenon but in fact somehow to have this double in your work you owe a lot vision of spaces and places. to Roland Robinson’s aes- Tomorrow I’m reading out loud They do have multiple histo- thetic. He says “the thing is ries–they have Aboriginal histo- in services to hedonism. to keep moving”. I’m think- ries, early settler histories, I write my plaque on the spongey world ing of your poem ‘Moon contemporary histories and so Gazing in Sorrento Dusk’. and hail the puny days. on. You’ve somehow got to You call the moon a “break- keep those sides of things through moon”, “ moon of together. And so I try to keep eternal knowledge”, and you that possibility open in the also say that “everything poems. about it was the opposite of how I felt”. How are these You mentioned the elegy to ideas sourced in Roland Roland Robinson. That is one Robinson’s poetry? of the reasons why the moon became important in that MH I wanted to write an poem. I was trying to tell a version of the elegy for Roland. He published some of my first moon. It is in some ways an aboriginal story. poems, I admired his work and I enormously I’m trying to have two moons in that story–the liked him. He was one of those great generous moon of Diana and the reincarnational moon of human beings basically.
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