Michael Farrell

Free verse isn’t just for students. One of the most interesting practitioners of the line — perhaps the most — in Australia is Claire Gaskin. Gaskin’s use of the line is always working the line over other formal elements, even when she enjambs it:

suppose, for instance, that men were only

represented in literature as the lovers of woman

says Woolf

This is from the poem ‘Paperweight,’ just one more poem from Rabbit #1. Whereas other poets worth reading work the line to energise a stanza or their poem as a whole, Gaskin’s focus is on the line. This allows, I suppose, for readings of her work as dispersed, disjunctive blah blah, but such readings miss the point. Gaskin’s power is that of a haiku-inflected, feminist-charged, Surrealist fission. Not fusion, as a lazy music as soup metaphor might have it. (Because we who love to not love formalism have heard all that ‘line’ before.) There is a post-formal feel to such ‘free verse’ too; not the echo of metre, but the echo of the line-based form of, in particular, the pantoum, in the recycling of sentiments and the ‘soap in the stocking’ line. In the above, though Gaskin is making a point, a not perhaps startling one, the emphasis comes down on ‘says Woolf,’ giving her an authority that is common in many places, and yet in texts by men, generally subsidiary to the list of modernist men.

Rabbit editor Jessica Wilkinson has fusslessly put together some of the best newer writers around in this new print-on-demand poetry journal (based at the University of Melbourne). The poems are generously spaced, each poet has their own title (or name) page; there are photographs, reviews, an interview with American visitor Lesley Wheeler (as well as her cracker poem 'Virginia is for Heterosexual Lovers').

Rabbit 1 includes a couple of long, what I call aformalist poems, such as Tim Wright's 'Suns'. The poem is in dialogue with the form of a list, but Wright counteracts that with different deployments of single lines, enjambed lines, short couplets, such as:

sun on John Ashbery, flipping an LP

at a party in the 1960s