Catch and Release – an English phrase – is the title of a poetry collection composed in Spanish by Reina María Rodríguez.[1] Throughout this book Rodríguez makes repeated reference to objects and occurrences that fall short of desires. Her pattern of representing shortfall became a conscious element as she completed the composition of the book.
At a recent Australian Poetry symposium, Peter Minter showed the importance of a different kind of close reading, the material reading. A video of his talk can be seen below.
Minter points out the numerous Indigenous poets excluded from Australian Poetry Since 1788, a recent anthology (as well as pointing to some other exclusions). He frames the anthology itself as an editors' folly (the editors being Geoffrey Lehmann and Robert Gray, who have made anthologies together before) and as kitsch. But while such terms are subjective, and arguments about the exclusions from anthologies - thought objective facts - seem to boil down to the subjective in the end: it is the ends, finally, that Minter takes issue with. Minter's presentation was a model criticism, in terms of disarming those in the audience who were included in the anthology (assuming any needed to be disarmed) — but the kicker is Minter's discovery that the endpapers (shown as the image for this post, above) are actually fauxboriginal themselves, a folly of settler curtainmaking from the 1950s: they are, if anything is, kitsch. They suggest an Aboriginal design, but merely serve to give a frisson of nativism to a settlement verse project.
Kitsch
Catch and Release – an English phrase – is the title of a poetry collection composed in Spanish by Reina María Rodríguez.[1] Throughout this book Rodríguez makes repeated reference to objects and occurrences that fall short of desires. Her pattern of representing shortfall became a conscious element as she completed the composition of the book.