>Deep Image line (oh image is big big big for a lot of them)
Could you clarify that for me a little Jill?
-----Original Message-----
From: Poetryetc provides a venue for a dialogue relating to poetry and
poetics [mailto:[log in to unmask]]On Behalf Of Jill Jones
Sent: Wednesday, 29 March 2006 8:21 AM
To: [log in to unmask]
Subject: Re: A serious query, was Re: PS. Re: Help! The grass is singing
Hi Mark,
Obviously, I can only answer from my own experience. Alison may
disagree.
> My own very limited experience of Australian poetry is that most of
> the Australian poets I know fall within the vague boundaries of what I
> consider my home, but I couldn't generalize from that. Ashbery seems
> to be central for more poets than he is here or in Britain.
Although I think that, broadly, the New York poets (O"Hara more than
Ashbery in some circles, I suspect) are and have been a big influence
along one line of Australian poetry (ie, loosely speaking, one side of
the poetry wars, the generation of 68 as it's often referred to), my
feeling is that a great many Australian poets either still look to more
the, and I'm probably being a little inaccurate here, Deep Image line
(oh image is big big big for a lot of them) or the more trad look back
to Blighty, though at that point I couldn't quite pinpoint to whom.
There's a crowd that heads in the European and/or Spanish/Sth American
direction as well, but that's a more recent push and they would come at
that from varying other traditions or curricula, if you will. Way back
Brennan, of course, was interested in the French symbolists and so
there's another thread, which Adamson, to some extent, pulls into now.
> At this point and for a long time our poetry wars havn't been about
> gender. How does that operate, Jill?
Some of ours were about gender, say from the mid-1970s to possibly
early 1990s. Again, I only came into the tail-end of that. And those
dates probably wouldn't surprise anyone. Then there was a bit of a
backlash (you know, blokes muttering about reverse discrimination and
all that) but not to great effect. Now, I think you'd find that there's
plenty of books by women doing well, winning prizes, getting reviews
etc. But (there's always a but), there's still a lingering blokiness
and criticism can still go along those lines, and it can get nasty.
Many women will have war stories. Today, most (tho certainly not all)
editors of literary journals are still male and most poetry publishers
are male. I will say I have heard these editors claim they wish more
women would contribute. I presume they are being genuine.
But I wasn't raising a gender issue. I don't particularly want to
discuss my own case. And I do my own thing. I don't fit any of the
above.
I'm heading of to Melbourne today so I may not be able to continue this
discussion until I get back in a few days
Best,
Jill
_______________________________________________________
Jill Jones
Latest books:
Broken/Open. Available from Salt Publishing
http://www.saltpublishing.com/books/smp/1844710416.htm
Where the Sea Burns. Wagtail Series. Picaro Press
PO Box 853, Warners Bay, NSW, 2282. [log in to unmask]
Struggle and radiance: ten commentaries (Wild Honey Press)
http://www.wildhoneypress.com
web site: http://homepages.ihug.com.au/~jpjones
blog1: Ruby Street http://rubystreet.blogspot.com/
blog2: Latitudes http://itudes.blogspot.com/
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