Bev Braune

Bev Braune reviews Peter Boyle

Museum of space by Peter Boyle

University of Queensland Press, 2004

Peter Boyle strikes me as a poet who likes the air, much as Peter Minter likes water; Robert Adamson, leaves; Jordie Albiston, defined/confined spaces; John Tranter, lines or, rather, the lineage of the cursive. Boyle most reminds me of Robert Adamson with his gentle, probing style, his yearning approach to all that should be desirable–an understanding of ourselves in space and time, wherein we point all our limitations. In this context, Boyle holds his place very well as a watchful observer of the world (e.g. the wind, sunlight, birds, music, reflections, waves) and other writers (e.g. Rilke, Saint-John Perse, Jab├Ęs).

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Bev Braune reviews Luke Davies

Totem by Luke Davies

Allen and Unwin, 2004

The efficacy and strength of Luke Davies' Totem lie in its drawing on a long familiar tradition of mythological narratives as a vehicle for romantic verse-tellers – from Publius Ovidius Naso (known to us as Ovid), to Giovanni Boccaccio, to John Milton. Davies' tastes are eclectic; he even tries a poem in Jamaican English, such as it is generally recognised in reggae songs, in one in the series entitled '40 Love Poems' following his 'Totem Poem'.

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Bev Braune reviews Pam Brown

Textytext thing, by Pam Brown

Little Esther Books 2002

My topic is local. The poems rarely leave whatever street I'm on. They are as mobile and as mutable as my daily life. (from Pam Brown's Statements on poetics) [1]

The art of looking for the text, the thing it's in and re-thinking it, is Pam Brown's forte. In reading this collection, I find myself thinking of Brown's development. She is a poet who reads, travels, observes and re-thinks her own backyard.

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Bev Braune reviews Melissa Ashley

the hospital for dolls (2003) by Melissa Ashley

Post Pressed.

Melissa Ashley brings us a collection of stories considering realities, mythology and personal experience. While a veneer of the strange wraps her images, the translucence of their reality is distinctly prominent. This is a book about definition, about who defines what and how. The poems in Ashley's first volume of poetry are seriously concerned with corporeal actualities and female self-definition. Readers are called on to understand that the happenings referred to are relevant and real. We are asked to see, feel, talk-about and (perhaps) understand. She takes a Lacanian approach–comprehending experience is a slippery rhetorical matter.

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