ken bolton



Reach & Ambition

for John Jenkins I Reach & Ambition Late at night, up, looking at the things on my mantelpiece a profusion of crap, clutter & gewgaws a range of detail I love (John’s photos of it came today, reminding me). I …

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Review Short: Ken Bolton’s London Journal / London Poem

Readers of contemporary Australian poetry will most likely need no introduction to the work of Adelaide-based Ken Bolton. In a career extending back to Four Poems (1977), Bolton has established a distinctively discursive poetry, one that weaves observations of the poet’s everyday environment with musings on art, culture, and society more generally.

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Dark Heart

I look in here—this notebook—& see the notes for the last review I did, & note—that I am about to write another. Tho I would rather write something else. I whistle bop a bit try not to think of the …

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Heaven, Bruny Island

,… like the Mets I’m coming up to bat in the bottom of the 9th, or maybe the 8th, if I’m lucky but far behind in the game— and the music seems to have stopped to listen. —Tony Towle listening …

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End of Year

for Crab & Martin … there is much to do. A little man tells us how to invest our money, my teeth gain a few fillings, probably, at the dentist’s—who knows, maybe no drilling—but, as Xmas closes in, some shopping, …

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David Dick Reviews Ken Bolton and B. R. Dionysius

ThreeferKen Bolton and B.R. Dionysius emerge from different traditions, respectively: a New York School sense of everyday occasion punctuated by the presence and shaping forces of contemporary art (Frank O’Hara and James Schuyler are clearly present in Bolton’s diction); and a modernised kind of Romantic pastoral, littered with juxtaposed objects of the natural and contemporary world. Yet, at admitted risk of over-generalising, both of their recent books can be seen to be dealing with notions of how to write memory in poetry: how to write a poem to be honest to the process, even the implication itself, of remembering. How can language be used in the service of this retrospective vision, they ask; how does language, shaped by differing poetic forms, illuminate, distort or neutralise it?

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(Late at Night Bruny Island)

here in the bookshelves of the holiday house is a book of John’s poems—also Les—a fat spine appropriately. Why is that here? Masochism? I am unlikely to read it. Anyway, I wonder what John’s got to say— this time. * …

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“Hindley Street”: How to Be Perfect There

Pete Bakowski’s challenge: attempt Padgett’s ‘How To Be Perfect’. “Hindley Street”— I write those words, the title of this poem, on this pad, to start a list—of things I must do. Is this going to be a poem? Isn’t it? …

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London Postcard: A Quiet Morning at The Wapping Project Art Space

‘Avenue Victor Hugo, cognac— Lianne Fowler as Isabel,’ the caption says. And continues: ‘A French Picture Show’. So a movie still I expect. Why such an image will anchor one. Benediction. One is blessed. It is the softness of the …

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Justin Clemens Reviews Pam Brown and Ken Bolton

Brown and BoltonIf there is one true love in the history of Australian verse, it’s perhaps the love of Pam Brown and Ken Bolton. As you should expect, it’s not a normal kind of love at all – or maybe it’s the only normal love, depending on how you’re predisposed to taking the word or the thing (‘normal,’ I mean), and depending whether you think you can tell the difference between the two (‘word’ and ‘thing,’ I mean).

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Wandering through the Universal Archive

One of the sequences produced by the collaborative entity, A Constructed World, renders the phrases ‘No need to be great’ and ‘Stay in Groups’ in a range of media – silk-stitch, screen print, photography and painting. One of the painted versions of the image shows a naked woman covered in yellow post-it notes overseen by a hulking, shadowy male. These figures represent the artists Jacqueline Riva and Geoff Lowe. The image appears again in the form of a photograph and the installation was staged in various places around the world – as if the only way to get the message across would be to subject it to constant repetition in as many different formats as possible. Indeed, a number of the collective’s performances and installations attest to the impossibility of communication – even as these take the form of images that can’t fail to deliver. Avant Spectacle A Micro Medicine Show, 2011, features skeleton-costumed performers inexpertly singing and playing instruments while six knee-high wooden letters – S, P, E, E, C and H – burn like small condemned buildings at front of stage.

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Manic at Night

The refrigerator’s humming outside and I like that. Outside of any use I could make of it. But I can’t see it now, cause I’m in a different suburb, but this reminds me of how I used to like the …

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