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The Poetry of Alison Croggon and Rebecca Edwards Introduction ‘A Spirit of Eclecticism’: Critical Engagements with Australia’s Innovative New Nineties Poetries by Debbie M. Comerford BA (JCU), BA Hons. (USQ) Thesis submitted in fulfilment of the requirements of Doctor of Philosophy Department of Humanities & International Studies University of Southern Queensland January 2008 ABSTRACT In the 1990s Australia’s poetry milieu was enlivened by the emergence of a number of new poets and their poetry. This study groups these poets together under the title of ‘new nineties poets and poetries’. For the purposes of this study ‘new nineties poets and poetries’ refers to poetry written for the page by poets who published their first collection between 1990 and 2000 and who continue to write into the twenty-first century. New nineties poets and their poetry are not a new ‘movement’ or ‘school’ of poets; the poetry is characterised by diverse forms, styles, approaches and practices. Within these eclectic poetic practices emerge shared concerns with the issues of embodiment, language, cultural difference and violence. As John Leonard discusses, the “new poets evade categorization” (New Music xv) and it is the premise of this study that appropriate poetry criticism needs to respect and celebrate the eclecticism of new nineties poetries by resisting the convenient application of categories and divisive labels. This study attends to the critical question of what type of poetry criticism is appropriate for new nineties poetries. One answer to this question emanates from what Leonard describes as the “spirit of eclecticism” that characterises this new poetry (New Music xv). Criticism that works with this “spirit of eclecticism” will be as eclectic as the poetry itself. Antithetical to critical approaches that homogenise poetry with unifying frameworks, this study advocates multiple critical approaches. Working respectfully in relation and in conversation with new nineties poets, the eclectic critical engagements of this thesis are connected by the equally eclectic theories of postmodernism. ii CERTIFICIATION OF DISSERTATION I certify that the ideas, experimental work, results, analyses and conclusions reported in this dissertation are entirely my own effort, except where otherwise acknowledged. I also certify that the work is original and has not been previously submitted for any other award, except where otherwise acknowledged. _____________________________ _____________________ Signature of Candidate Date ENDORSMENT ____________________________ _____________________ Signature of Supervisor/s Date ____________________________ _____________________ iii ACKNOWLEDGEMENTS It is with heartfelt gratitude that I acknowledge the many poets who participated in the numerous conversations that form and inform this research. I thank each of you for your art – the poetry that inspired and sustained my writing. Special thanks to those who contributed to the Poetryetc and Poetry Espresso communities during my research. The discussions were always thought provoking and vibrant, and they profoundly enrich this study. Thank you for welcoming me into your poetry worlds and for your interest and encouragement. In particular I thank Alison Croggon, Rebecca Edwards, Peter Minter, John Mateer and Emma Lew. Each of you has generously contributed to this study and shared your personal and poetic life with me. Friendships spiralled in and around these conversations and for that I thank you. This study is intended as a rhizomatic gift to new nineties poets and others and I hope that it will inspire further critical discussions. The Faculty of Arts at the University of Southern Queensland provided generous research funding and the staff of the Department of Humanities and International Studies have provided support and encouragement throughout this process. In particular I thank my Principal Supervisor, Dr. Alison Bartlett, for her enduring support, assistance and friendship. My thanks also to my Associate Supervisor, Professor Robert Dixon, for his initial input and continuing encouragement. Thank you to Dr. Brian Musgrove who has always been a source of wisdom and support. My sincere gratitude to Dr. Christopher Lee for willingly ‘picking up the baton’ after the game had started! His new perspective brought a thoughtful critique to the study and his assistance was invaluable to the final thesis. It is with great thanks that I acknowledge John Leonard for sparking my passion for poetry, continuing to provide perfect advice, thoughtful critiques and sincere encouragement. Thank you to Anne Vickery and Kate Fagan for sharing their expertise on American Language poetry and the friendships that lightened our discussions. Thank you to Anne Galligan – I miss our ‘spirally talks’ and our cups of tea. Thanks also to Louise Thomason and Louise Mills who were there in the beginning and though our paths cross less frequently, they continue to walk with me. Thank you to my best friends Lyn Charchalis and Alison Lee – your friendship is the web that holds me. To my family who have understood and not understood, I thank you for being there and encouraging me to go on. Thank you to my son, Gabriel – you are the star of my life. To my husband Tim, I am overwhelmed by your enduring support and faith, and without you this would not be. Finally, I dedicate this thesis to my Father, Terence John Comerford, who tragically did not live to see its completion. iv TABLE OF CONTENTS Introduction 1 Chapter 1 Seductive Lyricism and Wild Experimentation: A Post-Language Poetics of Peter Minter’s “Empty Texas” Series 68 Chapter 2 Embracing Embodiment: The Poetry of Alison Croggon and Rebecca Edwards 147 Chapter 3 Engaging Cultural Difference: John Mateer’s Poetics of Hybridity 207 Chapter 4 “dark bare death’s speaking human words” “But the poems are beautiful”: Emma Lew’s Dark and Violent Poetry 264 Conclusion 323 Works Cited 330 v INTRODUCTION Australia’s poetry milieu was enlivened in the 1990s by the emergence of a number of new poets and their eclectic poetry. These new poets include Alison Croggon1, Rebecca Edwards2, Peter Minter3, John Mateer4, Emma Lew5, Jordie Albiston6, Peter Boyle7, Lisa Bellear8, Marcella Polain9, Anita Heiss10, MTC Cronin11, Tracy Ryan12, Samuel Wagan Watson13, Jill Jones14, Cassie Lewis15, Adrian Wiggins16, Jennifer Compton17, Jean Kent18, Brett Dionysius19, Aileen Kelly20, Brook Emery21, Ian McBryde22, Michelle Taylor23, Michael Farrell24, Lucy Dougan25, Sarah Attfield26, Kevin Murray27, Deb Westbury28, Jane Gibian29, Coral Hull30, John Graham31, Jennifer Harrison32, Ouyang Yu33, John Muk Muk Burke34, Keri Glastonbury35, Mark Reid36, Zan Ross37, Kevin Brophy38, Cath Kenneally39, Gina Mercer40, Ted Nielsen41, Lauren Williams42, Andy Kissane43, Michael Heald44, David Herkt45, Brendan Ryan46, Louis de Paor47 and others. This study groups these poets together under the general title of ‘new nineties poets and poetries’ which refers to poetry written for the page by poets who published their first collection between 1990 and 2000 and who continue to write into the twenty-first century. Recognition and the Australian Poetry Milieu Many of these poets have been recognised with awards for first collections, and demonstrative of greater renown is the bestowment of awards which consider all Australian poetry, like the prestigious Age Book of the Year award and the various Premiers’ awards. These new poets receive a substantial amount of publication space and attention in Australia’s leading literary journals, as well as being reviewed in journals and newspapers both in Australia and overseas. Their poetry is included in numerous anthologies and they now occupy authoritative and influential positions as editors and reviewers. Those who have won the Mary Gilmore award for a first book of poetry since 1990 include Alison Croggon, Jean Kent, Morgan Yasbincek, Jordie Albiston, Aileen Kelly, Jill Jones, Emma Lew, and Lucy Dougan. The FAW Anne Elder award for a first book of poetry since 1990 has been awarded to Alison Croggon and Marcella Polain. Those who have won state awards include Emma Lew, John Mateer, Peter Boyle, Sam Wagan Watson, Coral Hull, Tracy Ryan, Jill Jones, Brett Dionysius, Brook Emery, Mark Reid, Gina Mercer and Andy Kissane. Many of these have won the various national awards including the Bruce Dawe national poetry prize, the Vincent Buckley poetry prize and the Somerset national poetry prize. Indigenous poets Samuel Wagan Watson and John Muk Muk Burke have won the David Unaipon Award and Muk Muk Burke was awarded the Kate Challis RAKA Award, Indigenous Poetry. The Age Book of the Year award, the Dinny O’Hearn poetry prize, judged by Gig Ryan, was awarded to Peter Minter for Empty Texas, and Emma Lew for her first collection, The Wild Reply. (In an unusual alignment, Lew shared the award with one of Australia’s most esteemed and established poets, Peter Porter.) Most of the new nineties poets have been guests at Australia’s Writers’ Festivals and they have been awarded various grants which enable them to take their poetry to other parts of the world and meet poets from outside Australia. New nineties poets are published in all of the leading literary journals, including Meanjin, Overland, HEAT, Australian Book Review, Westerly and Southerly. As well as being reviewed and published in literary journals they receive attention in newspapers including the Age, the Sydney Morning Herald, the Australian, and the Canberra Times. Evidence of their wide spread recognition is demonstrated by reviews in international literary journals
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