Adam Aitken

David Gilbey Reviews Adam Aitken and Elizabeth Allen

In a judicious review of two ‘lucid and intelligent books’ on the job of the literary critic* and of a new edition of Eric Auerbach’s Mimesis, Edward Mendelsohn argued against the essential nostalgia of criticism in favour of a version of Kant’s ‘universal subjective’: finding ways to cross ‘the disputed border between popular and elite culture … without pretending it doesn’t exist’.

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Pilgrim Brother

My Other reminds me of a Viking prince piloting a hot air balloon in Central Desert cumulus. Currency-lad come good, no need to spend his rent on a nicked Beemer. His old mates take the prize for mayhem. I see …

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After harvest there were autumn days of airy nothings. Plein-air. I hoped that one day, like this we could build ourselves a new estate to take the place of the old one indexed to its horizon of dismantled chateaux. We …

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Winter, Fifth Avenue, New York (1893)

How I might learn to know by looking at something a long time, the way head, heart and hands infuse darkroom chemistry, Stieglitz trying too hard to always make the light exactly what we see: a planned attempt at definition …

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Alyosha Wiengpong, Untitled and Translated

Untitled Bound and syntaxed, threads of words in books transfix me Create their own being, slither like snakes Leave a crust of slough upon the flat dry tussock grass The skin thrilled, covered with tired letters Only the backbone precarious, …

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Review Short: Timothy Yu’s 100 Chinese Silences

Recently I watched a program on the resurgence of Pauline Hanson. In one scene Hanson stands in her old fish and chip shop in Ipswich, Queensland, a business she sold to a Vietnamese Australian lady named Mrs Thanh. Hanson boasts of her hard work, and takes over the frying. Hanson proceeds to advise Mrs Thanh on how to make potato scallops fluffier.

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Review Short: Adam Aitken’s One Hundred Letters Home

It has taken me more than a hundred days to read Adam Aitken’s One Hundred Letters Home. The book arrived in my letterbox in Sydney at the beginning of May. Autumn turned into winter, and the fragments of Aitken’s palimpsest-memoir started to unfold themselves to me.

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Adam Aitken Interviews Martin Harrison

I’ve known Martin Harrison since 1985, when I first met him in Newtown, New South Wales. I had been an undergraduate and aspiring poet at the University of Sydney, and we were neighbours.

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Adam Aitken Reviews Nicola Madzirov and Jan-Willem Anker

Remnants of Another AgeI am holidaying in a small farming hamlet in the south of France. I have brought two books of poetry written by contemporary Europeans and republished in handsome Vagabond Press European Series editions. A Sydneysider most of my life, I’ve been coming to France regularly since the mid-1990s, accompanied by my wife who’s English and whose parents live in the region. I’m enjoying my dose of the old world, but thinking, what is home? And what is home to me and to these farmers? More precisely, what is it about Europe today that we value?

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Timothy Yu Reviews Contemporary Asian Australian Poets

Contemporary Asian Australian PoetsA decade ago, Cordite Poetry Review asked me to write a review of its tenth issue, ‘Location: Asia-Australia.’ In my review, I wrote that while the issue did a splendid job of showing the intersection between two separate places called ‘Asia’ and ‘Australia,’ it was less clear whether the ‘Asian-Australian’ could also be a thing unto itself, a kind of writing that might be visible within domestic as well as international spaces.

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The Sherriff Buys Hawai’i

O’Hara in pyjamas Stevens in Fedora Mel Gibson drunk. One smart feriner shoots up the Common Room. But only a dream of all the heroes I wanna be. Officially I am Alien Resident. I rustles up some buddies tough white …

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Asian Australian Diasporic Poets: A Commentary

This essay provides a survey of the poetry of some Asian Australian poets, and does not attempt to be definitive. Diasporic poetics raise more questions than they answer and are just as much about dis-placement as about place, just as much about a ‘poetics of uncertainty’ as about certainties of style/nation/identity.

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