Please find below links to poems by Monash ECPS undergraduate students from this year's creative writing classes:
Caitlin Murphy
Joel Lazar
Urvi Majumdar
Sarah Holley
Nicholas Robinson
Kristen Richards
Marissa Lee
Lynsey Swan
Jarryd Redwood
Christopher Bryant
Madeline Thornton-Smith
Hannah Clinton
Gavin Yates
Corinne Van den Hoek
Edwina Sleigh
Alexandra van Schildt
Anna Duve
Oscar Schwartz on the poetry of Chris Mann
Monday, September 17, 3pm, Menzies N702 (Monash Clayton)
Yr stuffed. Not coz yr wrong but coz yr looking in the wrong direction.
– Chris Mann
Chris Mann’s poetry is complicated to the point of breathlessness. When engaging with a Mann poem for the first time it is as if one has suddenly become dyslexic: the words are there, but their construction resists meaning. The complex façade of a Chris Mann poem is intimidating for any reader, so his readership is limited almost exclusively to the domain of the international avant-garde - more exclusively, to an international community of experimental composers.
This seminar will provide a point of entry into Mann’s work, and his exploration of cybernetics, linguistics, poetics and composition. Then comes the revelation: to read Chris Mann requires a new conception of what reading can be - as performance.
Gig Ryan - A Reading from New and Selected Poems
Monday, 10th September 2012, 2pm – 4pm
Elizabeth Burchill Rooms,
Building 68 (Performing Arts Centre), Clayton Campus
To celebrate the publication of her long-awaited New and Selected Poems (Giramondo 2011), Gig Ryan will be reading from and discussing her poetry. Her most recent book, also published in the UK, collects work from over three decades, and has been shortlisted for both the Australian Literature Society Gold Medal and the Prime Minister's Literary Awards.
Gig Ryan is the author of six previous volumes: The Division of Anger (1981), Manners of an Astronaut (1984), The Last Interior (1986), Excavation (1990), Pure and Applied (1998), and Heroic Money (2001). She has been awarded the C.J. Dennis Prize for Poetry in 1999, and the FAW Anne Elder Poetry Award.
As the critic Owen Richardson has written, her widely anthologised and influential poetry is,
‘the product of a thoroughgoing research into language where the materials, the data, are displayed, denaturalised: skidding jolting precipitate diction, counterpoints of stateliness and trashiness kept from incoherence by tightly organised sound and rhythmic systems, synaesthesia, catachresis, collage — it’s all absolutely modern….she may even have invented or at any rate done the best R&D on a whole new affect, elegiac sarcasm.’
Gig Ryan has been the poetry editor of The Age since 1998; she also works as freelance reviewer, and has written extended articles on Les Murray, Judith Wright, and Indonesian novelist Pramoedya Ananta Toer.
Presented by the School of English, Communications and Performance Studies and the Centre for Postcolonial Writing. Enquiries to Samantha Clifford.
John Hand, "Lyrical Fabrications: An Adornian analysis of John Forbes' poetry"
Monday August 6, 3pm, Menzies N702 (Monash, Clayton)
Theodor Adorno's most famous statement of literary criticism is his assertion that "[t]o write poetry after Auschwitz is barbaric". But he also said that silence is not an option: "literature must...not surrender to cynicism merely by existing after Auschwitz". It is argued that the coherently strange/strangely coherent poetry of John Forbes, under Adornian analysis, embodies and rises above this dilemma, albeit negatively. Each lyrical fabrication is a "tailored lightsail" designed to carry the possibility of literature through to a world - hopefully waiting - in which the possibility of a recurrence of Auschwitz has been dissolved.
Either that, or we will "sit and write & / smoke, thumbing through Adorno like New Idea".
Papers from Ken Bolton Day
Please find below links to draft versions of papers presented at the Ken Bolton day.
Many thanks to everyone who participated.
Tim Wright
Duncan Hose
Sam Moginie
John Jenkins
Ken Bolton, "The Kirkman Guide to the Bars of Europe" (courtesy of foam:e 8)
A KEN BOLTON DAY - Thursday, 21 June 2012
Room 6, Building 8 (Rotunda), Monash University, Clayton (next to Library)
Symposium celebrating the writings and influences of
poet, art critic and publisher Ken Bolton.
Presented with the assistance of the Monash Literary
Studies Research Unit and Deakin Centre for Memory, Imagination and Invention.
Ken Bolton has been a leading figure in postmodern Australian
poetry since the 1970s. His many volumes include the recent books The Circus,
A Whistled Bit of Bop and Sly Mongoose; his collaborative texts with
John Jenkins have appeared in numerous editions and also been widely
anthologised. As editor of the literary journals Magic Sam and Otis Rush, and through Sea Cruise and Little Esther Books, Bolton has made a
significant contribution to small press publishing over several decades. He is
also an art critic, based at Adelaide’s Experimental Art Foundation since the early
1980s, where he runs Dark Horsey Bookshop.
http://www.poetrylibrary.edu.au/poets/bolton-ken
http://www.poetrylibrary.edu.au/poets/bolton-ken
11.15-11.30: John Hawke, Introduction
11.30-12: John Jenkins, “Twenty-Four Years of
Collaboration”
John Jenkins
has written seventeen books,
mostly non-fiction and
poetry, and
edited anthologies of
short fiction.
He has
worked extensively as
a journalist and arts
writer. His
most recent
books are
the poetry
collection Growing Up With Mr Menzies; and
travel writing,
Traveler’s
Tales of Old Cuba.
Website: johnjenkins.com.au
12-12.30: Sam
Moginie, “Amongst Modernisms: Reading Ken Bolton in the 1970s”
Sam Moginie resides
in Marrickville, and
is a doctoral
candidate at the
University of Sydney
reading the Australian
poetry of the
1970s. He blogs
occasionally at moremeteos.tumblr.com.
LUNCH 12.30-1.30
1.30-2: Duncan
Hose, “Poetry Hauntologues: Erotics of Influence in Frank O'Hara the Younger”
Duncan Hose is a poet, painter and academic scholar. His latest book of poems, One Under Bacchus, was published in 2011 by Inken Publisch, who also released his first collection, Rathaus, in 2007. In 2010 he was the recipient of the Newcastle Poetry Prize. He is currently completing a thesis at the University of Melbourne on self-mythologising in the poetry of Frank O'Hara, Ted Berrigan and John Forbes.
2-2.30: Ann
Vickery, “Taking Poetry to the Beach: Ken Bolton and the Coalcliff Years”
Ann Vickery is
a Senior
Lecturer in
Literary Studies
at Deakin
University in
Melbourne. She
is the
author of
Leaving Lines of Gender: A Feminist Genealogy of Language Writing (Wesleyan UP,
200), Stressing the Modern: Cultural Politics in Australian Women’s Poetry
(Salt Publishing, 2007)
and co-author with
Maryanne Dever
and Sally
Newman of
The Intimate Archive: Journeys through Private Papers
(National Library
of Australia, 2009).
2.30-3: Tim
Wright, “Up Late Thinking: Digressions on a few poems by Ken Bolton”
Tim Wright is
a PhD candidate
in English/Creative Writing
at Monash University.
He was winner of the Overland Judith Wright Poetry Prize in 2008, and edited
the anthology Some Sonnets.
3-4.30: Ken
Bolton, Poetry Reading and Discussion
A gay, light-hearted
bastard, Ken Bolton
cuts a moodily romantic
figure within the
dun Australian literary
landscape, his name
inevitably conjuring
perhaps that best
known image of him,
bow-tie askew, lipstick-smeared,
grinning cheerfully
at the wheel of
his 1958 Jaguar D-type,
El Cid.
Born in Sydney in
1949 he works at
the AEAF in Adelaide
and edits Little Esther
Books.
John Jenkins and Ken Bolton will be reading together at
Collected Works, Friday 22 June (6pm).
Contact: john.hawke@monash.edu
Pavlina Radia, “Formulated Flesh: The Inhuman Appetite of Modernist Poetics", 2pm, Friday 1 June, 2012
You are invited to attend the following seminar at Deakin University's city centre campus on Friday 1 June at 2pm:
Pavlina Radia, “Formulated Flesh: The Inhuman Appetite of Modernist Poetics”
Focusing primarily on the poetry of T.S. Eliot, Wallace Stevens, and Djuna Barnes, this paper explores the ways in which modernist poetry and other modernist art forms rely on the symbolic flaying of the body to comment on the artistic process of creation as a moment of renewal and re-invention. Such a process, as T.S. Eliot has argued, requires an elimination of the poet’s subjectivity in order to bring forth the notion of poesisas “a shred of platinum” or a disciplined intensity which I call the “formulated flesh.” The paper then suggests that such formulations not only drive the experimental aesthetic of modernist poetics, but also point to its appetite for movement and multiplicity whereby time becomes space, weight a lightness of being, form an inhuman flesh.
Dr Pavlina Radia is Assistant Professor of English Studies at Nipissing University, Canada.
The seminar will be held in Meeting Room 2. Deakin's city campus is on Level 3, 550 Bourke Street (Deloittes building), Melbourne. It will be followed by afternoon tea.
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