Laurie Duggan

Dan Disney Reviews Laurie Duggan’s Selected Poems 1971–2017

Laurie Duggan has long been a star within the light-filled firmaments of Australian poetry that first burst into prominence around five decades ago.

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‘a homemade world’: On the Dandenong Line

Sometime in 1953 my parents bought a house in Clayton (Victoria, Australia), then on the edge of south-east Melbourne. We moved there from a decidedly different environment: the guest house that my Grandmother owned. This was on Beaconsfield Parade in South Melbourne.

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Paul Munden Reviews The Best Australian Poems 2016

In her introduction to this anthology, editor Sarah Holland-Batt claims for the work ‘a colloquialism, contrarianism and playfulness that separates it from its counterparts in the northern hemisphere’. Being hitherto more familiar with that northern hemisphere, this reviewer’s critical interest was immediately aroused.

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Natural Selection: Ecological Postcolonialism as Bearing on Place

Australian poetry reminds us that we cannot encounter the natural world except by cultural means.

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Interview with Laurie Duggan (Ella O’Keefe edit)

Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether birdsong, traffic or an r&b song playing in the background.

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A Northern Winter

For Ken Bolton (who found it) 1 bitter gall in afternoon light stroboscopic beech ‘we will shortly be arriving at / Rainham’ a stationmaster spits the whistle Tate Modern: Delaunay (Robert) and Severini, Munch and Bonnard, Jonas Mekas’ films. Gerhard …

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Reclaimed Land: Australian Urbanisation and Poetry

In the late 1850s, Charles Harpur composed the image of ‘a scanty vine,/ Trailing along some backyard wall’ (‘A Coast View’). It might be forgettable, save for its conspicuousness in Harpur’s bush-obsessed poetry. Whether purple ranges or groaning sea-cliffs, his poems cleave to a more-than-human continent. The scanty vine, however, clings to a different surface: human-made – the craft of a drystone wall, perhaps, or wire strung through posts like the twist of the poetic line – it signals domestic land division. Harpur’s vine of words trails along the vertical edifice of settlement.

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Lives of the Poets

[An edit from Journals, 1972-1983] 1 A sudden & brief thunderstorm over the house, the harbour. A day in a car wash near Taylor Square. Note on Brett Whiteley’s Zen: all the detail is peripheral: it was an easy step …

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1 low native scrub on the promontory palm-ends splattered with birdshit upper decks of ships luminous in the Bay cloud from the northeast gathers, the poems dry up, at the edge of the military base, leaves hang awaiting scent release …

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Review Short: Laurie Duggan’s The Collected Blue Hills

The Collected Blue HillsI’m far too young to remember the Blue Hills radio serial, which ran for an incredible 27 years, or 5795 episodes. But in my mind, I’ve always aligned it somehow with the long-running serial of a different medium, A Country Practice, and the experience of watching on, for years throughout my childhood. Watching fictional relationships bloom and end and change, watching births and deaths, illnesses and weddings, floods and fires and droughts; and now that I’m older, I can still, sometimes, align parts of its fictional time to the timeline that I experienced in the world.

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The Art of Poetry

don’t write when you have ‘something to say’ write when you have nothing to say

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The Lee Marvin Readings: An Evening with Edmund Gwenn

The Lee Marvin Readings has run, off and on, since the 1990s. Its venue has changed a number of times – from Adelaide nightclubs like Supermild, to the Iris Cinema, to the charmingly Zurich-1917, bo-ho De La Catessan and the more robustly hard-drinking and confrontational Dark Horsey bookshop at the Australian Experimental Art Foundation, where it now takes place. The sessions have been organised, run, staffed and emceed by poet and art critic Ken Bolton.

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