Pub Date : 2023-09-08DOI: 10.1353/apo.2022.a906052
Liam Ferney
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Pub Date : 2023-09-08DOI: 10.1353/apo.2022.a906025
Susanne Kennedy
{"title":"Cemetery Carnival (Día de los Muertos, Guatemala)","authors":"Susanne Kennedy","doi":"10.1353/apo.2022.a906025","DOIUrl":"https://doi.org/10.1353/apo.2022.a906025","url":null,"abstract":"","PeriodicalId":41595,"journal":{"name":"Antipodes-A Global Journal of Australian/New Zealand Literature","volume":"39 1","pages":"10 - 10"},"PeriodicalIF":0.0,"publicationDate":"2023-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80136839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-08DOI: 10.1353/apo.2022.a906060
Derek Hinckley
2022 ❖ 161 stanza, as one long sentence, readers may find that meaning eludes them because of the wordy expression. In “Concerning Shearers Playing for the Bride” from the Localities section, the first page of the poem feels mostly cohesive (except for some fairly random rhyming in the fifth stanza). The poem concerns a painting by Arthur Boyd, and this first page does well in bringing it to life for the reader. However, the strength of the opening fades in the second and third page of the poem, when both the tone and the subject shift. We move from lovely lines like “the bride behind and the costly veil / while the lantern flutters, yaws and bends” to “And the cards say / and the mat says / ‘Play!’ Play / craftily for the essences’ / sweet emergence / from cocoon of circumstance.” This drastic shift in both tone and content not only disconcerts readers but also strips polish from the finished poem. He moves from capturing the essence of the painting to a less measured, more stream-of-consciousness rant reminiscent of a paler version of Allen Ginsberg. This is disappointing because when Harris pays attention to language, he has a real ability to draw a reader in and make a statement with his work. Harris is at his strongest in his most descriptive poems, when he uses clear, carefully chosen language. For example, in “Cane Country,” appearing in The Abandoned, he writes, “Work was a god whose feet / were sugar and fire.” In moments like this, Harris shows us his skill at molding language to his purposes. The sections have punch and life and lack the heaviness of his more verbose poems. He lights up the reader’s imagination. There are enough moments of spark in Harris’s work that it would be well worth a reader’s time to sit down with a full collection in which the poet had the space to tell a story, to create a narrative arc. Unfortunately, the selection here, unbalanced as it is in representing his full collections, does not make for a good introduction to Robert Harris’s poetic accomplishments.
{"title":"The Living Sea of Waking Dreams by Richard Flanagan (review)","authors":"Derek Hinckley","doi":"10.1353/apo.2022.a906060","DOIUrl":"https://doi.org/10.1353/apo.2022.a906060","url":null,"abstract":"2022 ❖ 161 stanza, as one long sentence, readers may find that meaning eludes them because of the wordy expression. In “Concerning Shearers Playing for the Bride” from the Localities section, the first page of the poem feels mostly cohesive (except for some fairly random rhyming in the fifth stanza). The poem concerns a painting by Arthur Boyd, and this first page does well in bringing it to life for the reader. However, the strength of the opening fades in the second and third page of the poem, when both the tone and the subject shift. We move from lovely lines like “the bride behind and the costly veil / while the lantern flutters, yaws and bends” to “And the cards say / and the mat says / ‘Play!’ Play / craftily for the essences’ / sweet emergence / from cocoon of circumstance.” This drastic shift in both tone and content not only disconcerts readers but also strips polish from the finished poem. He moves from capturing the essence of the painting to a less measured, more stream-of-consciousness rant reminiscent of a paler version of Allen Ginsberg. This is disappointing because when Harris pays attention to language, he has a real ability to draw a reader in and make a statement with his work. Harris is at his strongest in his most descriptive poems, when he uses clear, carefully chosen language. For example, in “Cane Country,” appearing in The Abandoned, he writes, “Work was a god whose feet / were sugar and fire.” In moments like this, Harris shows us his skill at molding language to his purposes. The sections have punch and life and lack the heaviness of his more verbose poems. He lights up the reader’s imagination. There are enough moments of spark in Harris’s work that it would be well worth a reader’s time to sit down with a full collection in which the poet had the space to tell a story, to create a narrative arc. Unfortunately, the selection here, unbalanced as it is in representing his full collections, does not make for a good introduction to Robert Harris’s poetic accomplishments.","PeriodicalId":41595,"journal":{"name":"Antipodes-A Global Journal of Australian/New Zealand Literature","volume":"1 1","pages":"161 - 163"},"PeriodicalIF":0.0,"publicationDate":"2023-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83107112","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-08DOI: 10.1353/apo.2022.a906048
Cassandra Atherton, Paul Hetherington
{"title":"Reel","authors":"Cassandra Atherton, Paul Hetherington","doi":"10.1353/apo.2022.a906048","DOIUrl":"https://doi.org/10.1353/apo.2022.a906048","url":null,"abstract":"","PeriodicalId":41595,"journal":{"name":"Antipodes-A Global Journal of Australian/New Zealand Literature","volume":"26 1","pages":"135 - 135"},"PeriodicalIF":0.0,"publicationDate":"2023-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85839047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-08DOI: 10.1353/apo.2022.a906036
CA. Cranston
Abstract:Ubiquitous, highly visible, nonspecific to geography, history, race, or sex, dwarfism's connection with Australia's mythic and literary histories is remarkable enough to suggest here that it occupy its own subgenre in literature, the zwergroman (m). Australia's branding as the "Antipodes" geographically recalls its colonial past; mythographically the imaginative configuration was as an underworld of opposites ruled by the diminutive King of the Antipodes. Thus, the zwergroman is frequently fashioned from Celtic myths of the colonizing power along with the shaping power of colonial processes. In addition to introducing the conventions of the zwergroman and demonstrating the significance of dwarf characters to Australia's pre- and postcolonial narratives, this article gradually introduces concepts from disability studies (through the scholarly work of Erin Pritchard, David T. Mitchell and Sharon L. Snyder, and others) by examining representations and cultural meanings imposed on dwarf characters prior to the counter histories of twenty-first-century short-statured scholars whose demand for personhood required an engagement with subjective and experiential realities. The novels discussed (1970–94) represent a cluster of dwarf-centric novels by notable writers, all able-bodied at the time of writing (excepting Patrick White). They include C. J. Koch, The Year of Living Dangerously (1978; filmed 1982); James McQueen, Hook's Mountain (1982); Ruth Park, Swords and Crowns and Rings (1977); Peter Carey, The Unusual Life of Tristan Smith (1994); and Patrick White, The Vivisector (1970).
{"title":"The Zwergroman: Literary Dwarfs under the Australian Gaze","authors":"CA. Cranston","doi":"10.1353/apo.2022.a906036","DOIUrl":"https://doi.org/10.1353/apo.2022.a906036","url":null,"abstract":"Abstract:Ubiquitous, highly visible, nonspecific to geography, history, race, or sex, dwarfism's connection with Australia's mythic and literary histories is remarkable enough to suggest here that it occupy its own subgenre in literature, the zwergroman (m). Australia's branding as the \"Antipodes\" geographically recalls its colonial past; mythographically the imaginative configuration was as an underworld of opposites ruled by the diminutive King of the Antipodes. Thus, the zwergroman is frequently fashioned from Celtic myths of the colonizing power along with the shaping power of colonial processes. In addition to introducing the conventions of the zwergroman and demonstrating the significance of dwarf characters to Australia's pre- and postcolonial narratives, this article gradually introduces concepts from disability studies (through the scholarly work of Erin Pritchard, David T. Mitchell and Sharon L. Snyder, and others) by examining representations and cultural meanings imposed on dwarf characters prior to the counter histories of twenty-first-century short-statured scholars whose demand for personhood required an engagement with subjective and experiential realities. The novels discussed (1970–94) represent a cluster of dwarf-centric novels by notable writers, all able-bodied at the time of writing (excepting Patrick White). They include C. J. Koch, The Year of Living Dangerously (1978; filmed 1982); James McQueen, Hook's Mountain (1982); Ruth Park, Swords and Crowns and Rings (1977); Peter Carey, The Unusual Life of Tristan Smith (1994); and Patrick White, The Vivisector (1970).","PeriodicalId":41595,"journal":{"name":"Antipodes-A Global Journal of Australian/New Zealand Literature","volume":"30 1","pages":"78 - 93"},"PeriodicalIF":0.0,"publicationDate":"2023-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76902686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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