James Phillip Mcauley - Poems
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The Haunted Landscapes of James Mcauley
Writing from the Periphery: the haunted landscapes of James McAuley JEAN PAGE University of Lisbon In a comparative approach, this paper addresses the influence of important precursors on James McAuley’s early poetry, its forms, themes and motifs, notably in the early work, what might be described as ‘landscape’ poems, and especially how translation functioned in his apprenticeship. The second part of the paper examines McAuley’s successful return to the lyric landscape in the last decade of his life, and his apparent journey through a new phase of influences, dedications and appropriations. The term ‘landscape’ I do not use as a technical term, but rather as a word which best fits the poems I wish to describe which have, generally, a pictorial quality of images organised in a recognisable setting, a scene perhaps, often taken from nature and often adjacent to a more human-built environment, often featuring human figures or at least the gaze of a human onlooker, as well as that of the ‘reader’ onlooker. While Chris Wallace–Crabbe and David Bradley have commented on McAuley’s early landscape poems, including the concept of interior landscape, and there has been considerable comment on his later landscape poems influenced by Georg Trakl (notably by Gary Catalano, Carmel Gaffney, Peter Kirkpatrick, Igor Maver and Vivian Smith), this paper draws a link between the early and the later landscape poems. In addition, it further develops the recognition by Lyn McCredden and Noel Macainsh of the importance of translation in McAuley’s work. The Early Landscape Poems Between 1936 and 1938, the young aspiring poet James McAuley, then writing under the initials ‘JMc’, wrote what has become one of his most anthologised poems, ‘Envoi’, a poem of four quatrains of alternating rhyme (Collected Poems, 6). -
An Introduction to the Life and Work of Amy Witting
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by The University of Sydney: Sydney eScholarship... 'GOLD OUT OF STRAW': AN INTRODUCTION TO THE LIFE AND WORK OF AMY WITTING Yvo nne Miels - Flin ders University It is rather unusual for anyone to be in their early seventies before being recognised as a writer of merit. In this respect Amy Wining must surely be unique amongst Australian writers. Although she has been writing all her life, she was 71 when her powerful novel I for Isabel was published, in late 1989. This novel attracted considerable critical attention, and since then most of the backlog of stories and poetry written over a lifetime have been published. The 1993 Patrick White Award followed and she became known to a wider readership. The quality and sophistication of her work, first observed over fifty years ago, has now been generally acknowledged. Whilst Witting has been known to members of the literary community in New South Wales for many years, her life and work have generally been something of a literary mystery. Like her fictional character Fitzallan, the ·undiscovered poet' in her first novel Th e Visit ( 1977). her early publications were few, and scattered in Australian literary journals and short-story collections such as Coast to Coast. While Fitzallan's poetry was 'discovered' forty years after his death, Witting's poetry has been discovered and published, but curiously, it is absent from anthologies. For me, the 'mystery' of Amy Witting deepened when the cataloguing in-publication details in a rare hard-back copy of Th e Visit revealed the author as being one Joan Levick. -
The Devil Andjames Mcauley
The Devil and james McAuley: The Making of a Cold War Warrior CASSANDRA PYBUS, WRITER AND HISTORIAN, TASMANIA saw Jim McAuley only once - it could have been in 1971 - at a Peace with Freedom function at Sydney University. Or was it the Association for Cultural Freedom? Leonie Kramer was there. I was a member of SDS (Students for a DemocraticI Society), and had come with my boyfriend to see what Peace With Freedom were up to. I recall thinking that McAuley, who represented everything despicable to us, was a surpringly small man. His deeply etched face suggested he had taken quite a bit of punishment in his time, while his voice, so clearly tutored into its cultured modulations, was almost feminine. He had a presence, there was no denying that, but with my predisposition to regard McAuley as the enemy - the boyfriend was also a modem poet - I was unable to detect the charisma about which I have since heard so much. When he was at university in the late thirties, McAuley cut a dazzling figure among his admiring university cohorts, as Michael Heyward makes clear in The Em Malley Affair. Everyone was in awe of him. He could dominate a room on entry. Wildly funny he was a master of the sardonic and given to outrageous puns and scarifying repartee. The shoddy world he perceived around him provided plenty of fuel for contempt, and he showed no fear or favour when it came to making someone look like a fool. To add to his lustre, McAuley was a brilliant and inventive pianist. -
The Sydney Intellectual/ Religious Scene, 1916–2016
The Sydney intellectual/ religious scene, 1916–2016 James Franklin Strictly speaking, there is no intellectual/religious “scene” in Sydney, in the sense that there is, say, a folk music scene. A “scene” has groups which know one another and an audience that cycles through them. But with religion it is much more a matter of individual denominational silos with little interaction in the sphere of ideas and debate. There is no regular gathering in theology or religion that fulfils the role in the philosophy world of the annual Australasian Philosophy Conference. The century-old, interdenominational Heretics Club at Sydney University,1 which this journal issue celebrates, is a rare exception. But a dozen people meeting almost under cover of darkness do not constitute a “scene”. Nor has Sydney had any high-profile religious figure in its public life comparable to Archbishop Mannix in Melbourne. Hilary Carey wrote in the Dictionary of Sydney, “Religion has not been a notably creative force in Sydney’s cultural life and the city is conspicuously lacking in prophets or founders of new religions.”2 That has contributed to a poor penetration of local intellectual life by religious views. Furthermore, Sydney, unlike Melbourne, has a reputation of being anti- intellectual in religion, with Catholic life being shaped by the long reigns of the unintellectual Archbishops Kelly and Gilroy,3 Sydney evangelicals suspecting the fallenness of human reason, and Presbyterians hunting heretics. Archbishop Kelly was more concerned with the evils of mixed bathing, his Anglican counterpart Archbishop Wright with the opening of the Royal Easter Show on Good Friday. -
Breathing in Art, Breathing out Poetry: Contemporary Australian Art and Artists As a Source of Inspiration for a Collection of Ekphrastic Poems
Breathing in art, breathing out poetry: Contemporary Australian art and artists as a source of inspiration for a collection of ekphrastic poems. Erin Shiel A thesis submitted in fulfilment of requirements for the degree of Master of Arts (Research) Faculty of Arts and Social Sciences The University of Sydney 2016 Abstract: During the course of this Master of Arts (Research) program, I have written The Spirits of Birds, a collection of thirty-five ekphrastic poems relating to contemporary Australian art. The exegesis relating to this poetry collection is the result of my research and reflection on the process of writing these poems. At the outset, my writing responded to artworks viewed in galleries, in books and online. Following the initial writing period, I approached a number of artists and asked if I could interview them about their sources of inspiration and creative processes. Six artists agreed to be interviewed. The transcripts of these interviews were used in the writing of further poetry. The interviews also provided an insight into the creative processes of artists and how this might relate to the writing of poetry. The exegesis explores this process of writing. It also examines the nature of ekphrasis, how this has changed historically and the type of ekphrastic poetry I have written in the poetry collection. In analysing the poems and how they related to the artworks and artists, I found there were four ways in which I was responding to the artworks: connecting to a symbolic device in the artwork, exploring the inspiration or creative process of the artist, drawing out a life experience or imagined narrative through the artwork and echoing the visual appearance of the artwork in the form of the poem. -
The Defendant (Spring, 2017)
The DEFENDANT Newsletter of the Australian Chesterton Society Vol. 24 No. 4 Spring 2017 Issue No. 95 ‘I have found that humanity is not Chesterton as a incidentally engaged, but eternally and Broadcaster systematically engaged, by Tony Evans in throwing gold into the In his later years Chesterton attracted an gutter and diamonds into expanded audience as a result of his radio the sea. ; therefore I talks. This important, but previously neglected, have imagined that the part of his writing and public speaking was main business of man, the subject of an address by the Founding however humble, is President of the Australian Chesterton Society, defence. I have conceived Tony Evans, at its 2001 conference in Sydney. that a defendant is chiefly Tony Evans was a long-time producer with required when worldlings ABC radio and television in Perth, and has despise the world – that published several historical biographies, the a counsel for the defence most recent of which was of the church Chesterton at a microphone in the BBC studios would not have been out architect, William Wardell. In this article for of place in the terrible day The Defendant, he demonstrates his unrivalled to broadcast live on Christmas Day. when the sun was expertise in discussing Chesterton as a Luckily the script of the talk has survived, broadcaster. complete with additions and deletions. darkened over Calvary Thus we know that he first alluded to and Man was rejected of his journey by apologising for interrupt- men.’ Chesterton received his first invitation ing the listeners’ Christmas holiday, and G.K. -
THE NEW OXFORD BOOK of AUSTRALIAN VERSE Chosen by Les a Murray
THE NEW OXFORD BOOK OF AUSTRALIAN VERSE Chosen by Les A Murray Melbourne Oxford University Press Oxford Auckland New York CONTENTS Foreword xxi Sam Woolagoodjah Lalai (Dreamtime) 1 Barron Field (1786-1846) The Kangaroo 6 Richard Whately (1787-1863) There is a Place in Distant Seas 7 Anonymous A Hot Day in Sydney 8 The Exile of Erin 11 Hey Boys' Up Go We' 12 The Lime juice Tub 13 John Dunmore Lang (1799-1878) Colonial Nomenclature 14 Anonymous Van Diemen s Land 15 The Convicts Rum Song 16 Hail South A ustraha' 16 The Female Transport 17 The Lass m the Female Factory 18 Francis MacNamara (Frank the Poet) (b 181P) A petition from the chain gang 19 For the Company underground 22 A Convict s Tour to Hell 23 Robert Lowe (1811-1892) Songs of the Squatters I and II 28 Charles Harpur (1813-1868) A Basket of Summer Fruit 31 Wellington 32 A Flight of Wild Ducks 33 Anonymous The Song of the Transportationist 34 Children s Ball bouncing Song 35 Louisa Meredith (1812-1895) Tasmanian Scenes 36 Aboriginal Songs from the 1850s Kilaben Bay song (Awabakal) 36 Women s rondo (Awabakal) 37 CONTENTS Two tongue pointing (satirical) songs (Kamilarot) 38 The drunk man (Wolaroi) 38 Anonymous Whaler s Rhyme 38 The Diggms oh 39 WilhamW Coxon (') The Flash Colonial Barman 41 Charles R Thatcher (1831-1882) Dick Bnggs from Australia 42 Taking the Census 45 Moggy s Wedding 46 Anonymous The Banks of the Condamme 48 The Stnngybark Cockatoo 49 Henry Kendall (1839-1882) Bell birds 50 Beyond Kerguelen 51 Anonymous John Gilbert was a Bushranger 53 Jack McGuire (>) The Streets -
On Not Falling Into the Gaps
Dorothy Green ON NOT FALLING INTO THE GAPS Anthony J. Hassall. Strange Country. St. Lucia: University of Queensland Press, 1986. 213 pages. $29.95. Casebound. It is interesting to note that a novel of Randolph Stow's and the first comprehensive study of his work by Anthony Hassall have attracted two of the most extraordinary reviews ever written by respected Australian critics. To compare them might serve as a cautionary tale against succumbing too readily to fashions in critical theory. One critic castigates Stow as a symbolist; the other praises Stow as a symbolist and castigates Hassall for allegedly attempting to enrol him in the realist camp. Meanwhile Stow has described himself as a hyper-realist. In Southerly, No. 2, 1964, Leonie Kramer reviewed the first four of Stow's novels, concluding that "Tourmaline was the reductio ad absurdum of the symbolic novel". In her assessment of To the Is lands, she assumes the central character Heriot was intended as a Christ- figure and the novel as a vehicle of "quasi-Christian mythology", without wondering how the head of a mission, obsessed by hatred and resentment, who goes bush after stoning a man in a rage, because he is incapable of forgiving him, in any way resembles Christ. She manages to discuss the novel at some length without anywhere telling us what it is about. The word "aboriginal" occurs once, in the sentence: "In the belief that he had killed a man, he (Heriot) wanders into the wilderness to seek the mythical aboriginal islands of the dead". We are not told who the man is, what is his relationship to Heriot, or anything else about him. -
—It's, Like, POETRY, Man“
“It’s, like, POETRY, man” The Generation of ’68 and other modern Australian verse. CATALOGUE THIRTY-THREE WINTER 2010 Front cover illustration: no. 116. Back covr illustration: no. 34. Books are offered subject to prior sale at the nett prices in Australian dollars. All prices include Australian Federal Government Goods and Services Tax. Freight and insurance are extra and will be added to your invoice. Overseas customers will be invoiced in Australian dollars and are requested to remit payment in Australian dollars only. Books will be sent by airmail. Orders may be left at any time on our 24-hour answer phone (03) 9853 8408 (International +613 9853 8408) or by email – [email protected] or [email protected] or by mail to PO Box 325 KEW VICTORIA 3101 AUSTRALIA We accept Mastercard and Visa. Please advise card number, ccv number, expiry date, and name as it appears on your card. Payment is due on receipt of books. Customers not known to us may be sent a pro forma invoice. Any item may be returned within five days of receipt if we are notified immediately. Normal trade courtesies are observed where a reciprocal arrangement exists. Australian and New Zealand Association of Antiquarian Booksellers Printed, typeset and bound in Australia for New Century Antiquarian Books. Copyright © Jonathan Wantrup 2010. All rights reserved. No part of this publication my be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, or otherwise, without the prior permission of New Century Antiquarian Books. [1] ADAMSON, Cheryl and Chris EDWARDS (editors), Robert Adamson (design). -
Chapter 1 Douglas Stewart
CHAPTER 1 DOUGLAS STEWART: THE EARLY YEARS 1925-1938 Throughout the many scholarly works that focus on Stewart’s place in Australian literature, the word that recurs in respect of Douglas Stewart’s creative work is ‘versatile’. One of its first appearances is in Nancy Keesing’s Douglas Stewart, which begins with the precise statement: ‘Douglas Stewart is the most versatile writer in Australia today ⎯ perhaps the most versatile who ever lived in this country. He is a poet whose poetry and nature as a poet are central to everything in which he excels’.93 Stewart was not only a poet whose early philosophy that the closer one moves towards nature the closer one moves towards the spirit of the earth, developed as a line of continuity which contributed to his total philosophy; this chapter focuses on Stewart’s life and poetic ambition in New Zealand until his move to Australia as an expatriate in 1938. As a mature poet he was then concerned to apply this pantheism to modern responses regarding humans and their experiences. The purpose of the introductory part of this chapter is to clarify the theme of the dissertation ⎯ Douglas Stewart’s creative impulse; the second part involves a discussion of the poet’s visit to England where he met poets Powys and Blunden. At this time he also journeyed to his ancestral home in Scotland. Upon his return to Australia in 1938 he was offered a position with Cecil Mann at the Bulletin. Stewart was also a distinguished verse dramatist, a successful editor, particularly of the Red Page of the Bulletin from 1940 to 1960,94 and a participant of some repute in journalism and publishing. -
Mid-Century Responses to Modernism
Chapter 4.'A Tradition of Conservatism': Mid-Century Responses to Modernism While a number of early to mid-century Australian poets can be shown to have engaged in some of the central debates of modernism, few can be said to have advocated the kind of radical stylistic experimentation and innovation characteristic of European and American modernism. This lack of radical stylistic innovation and experimentation has been noted by numerous critics, and tends to support Tranter's view that Australian poetry before the New Poetry period had been dominated by a 'tradition of conservatism.'1 Martin Harrison has described the work of Australian poets before the New Poetry, noting in their poetry: The certainty of persona-voice, the clarity of ostensive reference, the sup• pression of metaphor and image-reference in the central thought, [and] the resolution of that thought in conclusiveness... ? Alexander Craig, in his introduction to the Twelve Poets anthology in 1971, also pointed to a 'general conservatism or lack of experiment in Australian poetry' which he saw as being 'accompanied by a discursive, over-explanatory dullness in many poems. '3 Harrison's and Craig's views are supported by other critics. According to Julian Croft, neither Slessor, nor Wilmot - the two poets most often associated with modernist innovations - responded to the new stylistic directions for poetry in the twenties.4 While suggesting that Bertram Higgins' poem, '"Mordecaius" Overture' (1933) as Australia's first 'modernist' poem,5 Croft argues that it was not until the late thirties and early forties, with Slessor's 'Five Bells' and R D FitzGerald's poems 'The Hidden Bole,' 'Essay on Memory' and 'The Face on the Waters' that Tranter, The Xew Australian Poetry: xvii. -
Dialogues with Poets
Issue Five, Summer 2003 Dialogues with Poets home current issue archives gallery contact Return to Contents In Dialogue with A.D. Hope Dialogue Three: Politics & Poetics of Australian Literature Ann McCulloch Deakin University [Hope was largely responsible for the inclusion of Australian Literature as a separate subject of study in universities. Yet his role in debates on modernism in the Australian context was controversial and he remains one of the main figures who fought for a particular kind of poetry that he saw some modernist methods, experiments, and theories destroying. Dialogue Three aims to hear his side of the story as Hope has become, in many circles, the embodiment of what is euphemistically called ‘the dead white male,’ a title attributed to him long before his actual death in July 2000. Is it the case that Hope’s opposition to ‘free verse’ or his view that men and women know separate metaphysical worldviews or his poetic focus upon European philosophical and literary traditions are sexist, obsolete, or reactionary? See Dialogue One for details of the following exchange.] ADH: Jim McAuley came to live with us for some time after the last World War broke out. Harold Stewart visited us quite often. They were close friends and I met them quite often in the City. We used to take coffee in the morning and talk together, but neither of them was in the army at that timewhat do you call it when all the young men can't have? AM: Conscription. ADH: Well, that came in. They were naturally taken in.