Though the poems in Green Point Bearings are grounded in the natural world and are rooted in place, particularly Lake Macquarie, the Hunter and Northern Sydney, there is also something a bit magical in these poems. There is a mystery in this natural world that is inexplicable, arising from the spaces in which the poems are contained, in the rock, the trees, the flowers and shrubs that are everywhere and still precious, always in motion and changing: “Everything here speaks of infinity”.
The observations are visceral, coming from within a strong sense of the body. Thinness and its relationship to illness is a continual theme, though very different to the analytical approach of Small Acts of Disappearance. In Domestic Interior the perceptions are simultaneously more delicate and more intense, drawing the reader directly into the deepest heart of pain. The body and its relationship to food informs nearly every perception.
Though the poems stand alone and many have been published in literary journals that way, it’s the dialogue itself where the most important meaning happens. Both poets take on similar subjects of dispossession, occupation, the landscape and ecology, exploitation and historical revisionism. Both poets ultimately situate the work as a search for an identity born out of pain, guilt and suffering, and both respond through the others work to create connection and reconciliation.
The work resists an easy correspondence. You can’t “translate” it to a simple message or meaning. Instead the poems move between landscapes that feel like they should be familiar, with the unsettling quality of dreams or memory – slightly distorted and nightmarish, but also enticing.
Anyone who thinks of poetry as a hermetic art form has not read Jennifer Maiden. A keen and articulate observer of current affairs and trends, Maiden’s work explores a political and sociological landscape through the lens of poetic vision. This analysis takes many forms, often in multi-genred pieces that transcend essay, fiction, biography and poetry. In spite of the mixed literary forms, there is a consistency in characters, themes, and in approaches across Maiden’s oeuvre that makes for an accumulative effect.
It’s hard to think of Sakr as an emerging voice – his work seems to have been everywhere over the past few years. The work in These Wild Houses has such a strong sense of assurance. This is an impressive and very moving collection that not only explores the important terrains of both everyday and institutional racism, the migrant experience, identity politics, trauma and grief, but that also presents a deeply personal and moving story that very deliberately draws the reader in and invites collusion and connection.
Signs speak, horror rises through the floorboards, Hedge-Triffids surround the houses, and children poke sticks at dead possums. There is everywhere a clash between life and death; decay and renewal. Though Goodbye, Cruel explores painful places in a way that cuts deeply, ultimately the work is affirmative, moving back and forth into the particular and outwards into the universal. Smith does an exceptional job of bridging the gap between the absurd, the tragic and the domestic, turning it all into something tender and sublime.
The story itself is a fascinating one with themes very relevant to modern readers: the impact of colonisation, racism, cruelty and social inequality, as well as love, hunger, and the desire for meaning and self-actualisation. Johnson is a natural storyteller, providing narrative context in between each of the poems. However the real heart of the collection is the poetry, which goes deeper than scholarship would otherwise allow. Johnson puts the reader right into the moment of experience, using language that is both harrowing and wry.
Through the dystopia of styrofoam cups, depleted forests, rotting garbage, and an overabundance of aggressive species – colonists or currawongs, there is still laughter, a sense of hope, and a deep, abiding love for the city. In Aiken’s world, the human is absorbed into nature as just another animal, a predator who will one day be supplanted by another species. Though that may not sound like the prettiest of visions, A Vicious Example presents a collection of great beauty, and intense reflection.
Light and hope seems to play like a continual refrain through Maggie Walsh’s Sunset. Though these are poems that reflect the hardship and suffering that Walsh has experienced, they are never dark; never dour. Always there is an appreciation of the natural beauty, and a kind of joyousness that comes from sensation and perception in the face of racism, the grief that goes with being separated from home and family, and of feeling different.