Corey Wakeling



Is Contemporary Australian Poetry Contemporary Australian Poetry?

Poet, if you’re looking for your name in this essay, jump ahead a couple of pages. There I begin talking about poets collected in this anthology. Those of you interested in a review about contemporary Australian poetry, let’s begin here.

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A Genetic History of Uncommons

They take some responsibility for your precipices, as much as following ought to raze the civic. Largely, however, obligation, smirking, abides. * Wanneroo drive-thru of the talking cars. It makes the terminations of diversity seem ternary, that is, complexly coded, …

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Élan vital

It’s hard to gauge the health of this interaction because I’m grateful, because the iron fist is long gone, gabled in the California bungalow of dementia breached, lead gone, gold siphoned. I have you crystalline like childhood’s glass statuary, perfect …

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John Forbes’s ‘Miraculous Fluidity’

In a book on comedy, philosopher Alenka Zupančič has inadvertently discovered the key to the correlation of late twentieth century Australian poet John Forbes’s mastery of cultural imitation and his deconstruction of the mechanics of national identity so often queried in his work. Zupančič, infusing Friedrich Nietzsche, Henri Bergson, Gilles Deleuze, and Jacques Lacan, in a consideration of the relations assumed to exist between the vital and the mechanical, develops a theory of the comic as the maker of a ‘miraculous fluidity’.

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The New Reality in Australian Poetry

The generation of Murray is not my generation. The generation of Adamson is not my generation either. Nor is it Tranter or Kinsella. My generation is a new generation in Australian poetry. In this era of the ‘contemporary’, particularly as a political proposition after the end of history, it is a dangerous endeavour to suggest there is a modernist / social realist debate. And while the actors have undoubtedly changed (as has the world and its labels) we can discern two such derivative realities in the newest generation of Australian poets. These poets are working in ‘deformed realism’ and ‘sentimental radicalism’.

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Interior Spaces: Reading Landscape through Jill Jones

There is a photograph I have returned to several times. It was taken during the drive from Melbourne to Perth, at the petrol station which marks the town of Nullarbor, while Lucas was filling our tank. In it, a storm front is approaching, the sky a deep violet-blue which emphasises the red scrub of the plain and the bright yellow of a limestone road skirting round behind the buildings and out of sight, blocked by a makeshift white fence and hand-painted red ‘no entry’ sign.
It fascinates me, this image, in the same way the experience of the place did in the moment I took it.

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Lingo Surprise

Lingo as a last keen sanctuary for the purpose come to the circle who saw philosophy and then turned back. The coral and the woods, and the ankle blisters from biting, were better, so we went. Then of course you …

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CONSTRAINT editorial

It appears that when given the license to constrain the otherwise presumably instinctual, inadvertent, unconscious, innate, putatively authentic centres of creative practice, poets still appear to liken constraint to permission to release responsibility from the personal and expediting the imaginary to the machines of the sonnet, the page, the code, the number, the constellation, the collage, the palindrome, and the aphorism. Is this a sign of a persistent binary at the heart of creative practice, or of a persistent desire to debunk the binary?

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Philip Mead Reviews Corey Wakeling

Goad OmenHow do you hear the title to this volume of poems by Corey Wakeling? Goad Omen: two words that really slow you down as a reader, make you dwell on their unnatural pairing. Three dipthongal, molasses-slow syllables. They sound like a slip of the tongue, a conversational mishearing, or typo that should have been Good Omen perhaps.

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Corey Wakeling Interviews Javant Biarujia

Javant Biarujia is an iconoclastic Australian poet, at once an unparalleled linguistic confabulator and an exponent of Melbourne avant-garde poetics since the 1970s. He is the author of seven collections, such as Calques (Monogene, 2002), Low/Life (Monogene, 2003) and pointcounterpoint: New & Selected Poems 1983 – 2008 (Salt, 2007), and numerous chapbooks. Biarujia’s work marks out its own historical forebears and familiars in a way that I believe – although absolutely in association with contemporary histories of poetry such as American Language poetry, Australian bricolage, and European surrealism – happens to hybridise baroque linguistic ingenuity with deconstructive collage and games of poetic reality that defy straightforward historical alignment.

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Submission to Cordite 48: CONSTRAINT Open!

Poetry for Cordite 48: CONSTRAINT is guest-edited by Corey Wakeling. Submission is now closed for this issue, but open for Tracy Ryan’s Cordite 49: OBSOLETE. That poetry be raised to a pulpit of freedom and then celebrated as a picaresque …

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Cassidy on with Feature Reviews and Future Themes

The bad news first … I am sorry to see the departure of Lisa Gorton as Cordite’s Feature Reviews Editor. Over the past 18 months, her astute eye, impeccable judgement and gracious style has produced – and leaves us with – a superb legacy of robust and engaging feature reviews. Gorton’s work is testament to what can happen with excellent writing from reviewers and an engaged editorial acumen.

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