Commentaries

David Herd: THROUGH the Border

David Herd
David Herd

I want to begin this series of commentaries on the Biotariat — a term I will use to explore the coming resistance of “bare life” — by looking at a poetry which directly addresses the legal excision of certain subjects. I have in mind here David Herd’s excellent 2016 Carcanet book Through, which, along with Herd’s organizing and editing of the Refugee Tales project and volumes, constitutes an extensive foray into the violence of borders and the creation and management of the state of exception. Herd explores the interpenetration of spaces and languages of, on the one hand, bordering and exclusion, and on the other, as a grassroots counter-system, spaces and languages of welcome and inclusion — thresholds, commons, and pilgrims’ paths.

I want to begin this series of commentaries on the Biotariat — a term I will use to explore the coming resistance of “bare life” — by looking at a poetry which directly addresses the legal excision of certain subjects.

Ned Kelly: from the Jerilderie Letter, 10 February 1879

[At the start of a month’s visit in Australia I thought it appropriate to repost the following, included also in Barbaric Vast & Wild: Outside & Subterranean Poetry from Origins to Present. (J.R.)]           

[At the start of a month’s visit in Australia I thought it appropriate to repost the following, included also in Barbaric Vast & Wild: Outside & Subterranean Poetry from Origins to Present.

'Time is worn into beaks': Robyn Maree Pickens

Image courtesy of Robyn Maree Pickens
Image courtesy of Robyn Maree Pickens

Robyn Maree Pickens is a PhD candidate at the University of Otago, Dunedin, Aotearoa/New Zealand. Her writing has appeared in Art + Australia OnlineTurbine|KapohauThe Pantograph PunchQueen Mob’s Teahouse, Art New Zealand, Art News, The Physics Room Annual, Enjoy Gallery’s Occasional Journaland exhibition catalogues. Currently she is an art reviewer for the Otago Daily Times, and was Blue Oyster Art Project Space’s 2016 summer writer-in-residence on Quarantine Island Kamau Taurua.

Robyn Maree Pickens is a PhD candidate at the University of Otago, Dunedin, Aotearoa/New Zealand. Her writing has appeared in Art + Australia Online, Turbine|KapohauThe Pantograph Punch, Queen Mob’s Teahouse, Art New Zealand, Art News, The Physics Room Annual, Enjoy Gallery’s Occasional Journal, and exhibition catalogues. Currently she is an art reviewer for the Otago Daily Times, and was Blue Oyster Art Project Space’s 2016 summer writer-in-residence on Quarantine Island Kamau Taurua.

'Literary Environments: Place, Planet and Translation' (Gold Coast, Australia)

The Australian Association for Literature’s annual conference for 2017, Literary Environments: Place, Planet and Translation, will be held at Griffith University’s Gold Coast campus on July 17–19, 2017.

The Australian Association for Literature’s annual conference for 2017, Literary Environments: Place, Planet and Translation, will be held at Griffith University’s Gold Coast campus on July 17–19, 2017.

 

This year’s conference organizers, Peter Denney and Stuart Cooke, have assembled a stellar line-up of keynotes for the conference:

 

Anne-Marie Albiach, ÉTAT, translated by Keith Waldrop (pdf)

EPC Digital Edition 2017: pdf

Awede Press (Brita Bergland), Windsor, Vermont, 1989. Used with  permission of  Estate of Anne-Marie Albiach, Keith Waldrop, and Claude Royet-Journoud. French poem published by Mercure de France, 1971; republished 1988.