The second installment of Pam Brown’s feature “Fifty-one Contemporary poets from Australia” (ordered, “[i]n the interest of objectivity,” by “a recently invented ‘downunder’ method — the reverse alphabet”) includes work from Pete Spence, Jaya Savige, Tracy Ryan, Gig Ryan, David Prater, Peter Minter, Geraldine McKenzie, David McCooey, John Mateer, and Cameron Lowe, along with artwork by Spence.
The first installment of Pam Brown’s feature devoted to “Fifty-one Contemporary Poets from Australia” (ordered, “[i]n the interest of objectivity,” by “a recently invented ‘downunder’ method — the reverse alphabet”), includes work from Mark Young, Tim Wright, Fiona Wright, Adrian Wiggins, Alan Wearne, Corey Wakeling, Ann Vickery, John Tranter, James Stuart, and Amanda Stewart, along with artwork by Louis Armand and Paul Sloan. You can read Brown’s introduction, along with future installments of the fe
but nothing includes everything, or dominates over everything. The word ‘and’ trails along after every sentence. Something always escapes … — William James
To say that Rachel Blau DuPlessis has built her entire poetic project on the logic of the provisional and the contingent is no exaggeration. And reader, make no mistake — she has married us to this process. In the School of DuPlessian Midrash every seam and suture is exposed as a subject of instigation cum investigation. Investigation, in Drafts, is not simply a prod to the ethical; it’s heuristic: in teaching us how to read Drafts, Drafts teaches us how to read. (So maybe it’s chiasmatic, too?)