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An essay on Oliné Keese’s The Broad Arrow, Robert S. Close’s Eliza Callahan and Rachel Leary’s Bridget Crack, reflecting on poetic language in Tasmanian writing and the sensory and emotional languages we use to communicate with and about the world.
It’s been a little while since I posted anything, but that’s because I’ve been busy! Here’s a little update on a few exciting things that have been happening recently though – The Diver is going to Venice! Reviewing – Sean Rabin’s Wood Green, and TasWriters’ Hobart Writers Festival… The Diver is going to Venice! Firstly …
Rachel’ Mead’s The Flaw in the Pattern takes you on a journey ranging from Tasmania’s Overland Track to the southern ocean, and out into the great basin of Lake Eyre. Her observations are always interknitted with the intimate details of life and human relations, which allow you to see into the flaws in the patterns of everyday language.
Susan Richardson’s wonderful collection of marine creature themed poetry, Words the Turtle Taught Me is not only a fantastic read but would also be a really valuable classroom resource for anyone studying marine life, endangered species or interested in exploring different ways to write poetry.
Dominique Hecq’s Hush: A Fugue is a quiet, sad, collection of poems, which, for me, really evokes the atmosphere of Melbourne. Dominique is an accomplished writer, in this volume exploring themes of loss and mourning, not only of a child, but also of her mother tongue, French.
Kirsten Lang’s poems thoughtful and profound explorations of the spaces between human and nonhuman, the self and the world. Her writing speaks of the ‘vibrant matter’ of the world and give you a sense of being enmeshed in a glittering web that connects you to everything around you.
This is an extraordinary extended prose-poem that will surely appeal to lovers of triffids and weird and visceral adventures.