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Marine (Paperback)
Alan Jenkins, John Kinsella
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R298
Discovery Miles 2 980
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Ships in 12 - 17 working days
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This remarkable collaboration had its origins when John Kinsella
and Alan Jenkins, two very different poets who had long admired and
enjoyed each other's work, discovered by chance that the new poems
they were working on shared a preoccupation with the sea. Marine
brings together those poems and others written since, all dealing
with the sea in its many moods and weathers, with people's
relationship to and exploitation of their marine environment, from
the Indian Ocean to the shores of the Atlantic; the two poets'
highly distinctive voices, while drawing on a dazzling variety of
forms and sources, complementing each other in a powerful
counterpoint.
This Pivot book provides a wide-ranging and diverse commentary on
issues of legibility (and illegibility) around poetry, antifascist
pacifist activism, environmentalism and the language of protest. A
timely meditation from poet John Kinsella, the book focuses on
participation in protest, demonstration and intervention on behalf
of human rights activism, and writing and acting peacefully but
persistently against tyranny. The book also examines how we make
records and what we do with them, how we might use poetry to act or
enact and/or to discuss such necessities and events. A book about
community, human and animal rights and the way poetry can be used
as a peaceful and decisive means of intervention in moment of
public social and environmental crisis. Ultimately, it is a poetics
against fascism with a focus on the well-being of the biosphere and
all it contains.
Nuclear Theory Degree Zero: Essays Against the Nuclear Android
investigates the threat conveyed and maintained by the nuclear
cycle: mining, research, health, power generation and weaponry.
Central to this polyvalent 'report' on the infiltration of our
lives and control over them exerted by the industrial-military
complex, are critiques of the creation, storage and use of atomic
weapons, the exploitation of Australian Aboriginal people and their
lands through British atomic testing in the 1950s, and an exposé
of a language of denial in the world of nuclear
mining/energy/military usages. 'Nuclear' is also parenthetically
investigated in its function as extended metaphor and question for
poetry and poetics. Key is a consideration of the use of the
language of the 'atomic' in cultural spaces, and in 'the arts'.
Indigenous land-rights claims in the face of uranium mining, the
semantics of waste and of the glib usage by nuclear power companies
of the fact of global warming to suit their own corrosive agendas.
The triumphalism of scientific and cultural discourse around
'nuclear' and the threats by nuclear fission are by association
brought into question. The nuclear cycle throws the whole future of
human beings into doubt, and this book seeks to assemble new
resources of resistance through creative and critical mediums,
including poetry and poetics. The chapters in this book were
originally published as a special issue of Angelaki.
This volume completes John Kinsella's trilogy of critical activist
poetics, begun two decades ago. It challenges familiar topoi and
normatives of poetic activity as it pertains to environmental,
humanitarian and textual activism in 'the world-at-large': it shows
how ambiguity can be a generative force when it works from a basis
of non-ambiguity of purpose. The book shows how there is a clear
unambiguous position to have regarding issues of justice, but that
from that confirmed point ambiguity can be an intense and useful
activist tool. The book is an essential resource for those wishing
to study Kinsella, and for those with an interest in twentieth and
twenty-first-century poetry and poetics, and it will stand as an
inspiring proclamation of the author's faith in the transformative
power of poetry and literary activity as a force for good in the
world. -- .
Explorations of plant consciousness and human interactions with the
natural world. From apples to ayahuasca, coffee to kurrajong,
passionflower to peyote, plants are conscious beings. How they
interact with each other, with humanity and with the world at large
has long been studied by researchers, scientists and spiritual
teachers and seekers. The Mind of Plants: Narratives of Vegetal
Intelligence brings together works from all these disciplines and
more in a collection of essays that highlights what we know and
what we intuit about botanical life. The Mind of Plants, featuring
a foreword by Dennis McKenna, is a collection of short essays,
narratives and poetry on plants and their interaction with humans.
Contributors include Robin Wall Kimmerer, author of the New York
Times' best seller Braiding Sweetgrass, Jeremy Narby, John
Kinsella, Luis Eduardo Luna, Megan Kaminski and dozens more. The
book's editors, John C. Ryan, Patricia Vieira and Monica Gagliano -
each of whom also contributed works to the collection - weave
together essays, personal reflections and poems paired with
intricate illustrations by Jose Maria Pout. Recent scientific
research in the field of plant cognition highlights the capacity of
botanical life to discern between options and learn from prior
experiences or, in other words, to think. The Mind of Plants
includes texts that interpret this concept broadly. As Mckenna
writes in his foreword, "What the reader will find here, expressed
in poetry and prose, are stories that are infused with cherished
memories and inspired celebrations of unique relationships with a
group of organisms that are alien and unlike us in every way, yet
touch human lives in myriad ways."
John Kinsella explores a contemporary poetics and pedagogy as it
emerges from his reflections on his own writing and teaching, and
on the work of other poets, particularly contemporary writers with
which he feels some affinity. At the heart of the book is
Kinsella's attempt to elaborate his vision of a species of pastoral
that is adequate to a globalised world (Kinsella himself writes and
teaches in the USA, the UK and his native Australia), and an
environmentally and politically just poetry. The book has an
important autobiographical element, as Kinsella explores the pulse
of his poetic imagination through significant moments and passages
of his life. Whilst theoretically informed, the book is accessibly
written and highly engaging. -- .
For six months during 2015, two poets known for their capacity to
create lyric responses to the complex realities around them, yet
poets fully inscribed in both a western literary tradition and
other longer traditions that have been marginalized, exchanged
poems that were in constant dialogue even as they remained wholly
defined and shaped by the details of their own private and public
lives. Kwame Dawes base was flat prairieland of Lincoln, Nebraska,
a mid-American landscape in which he, a black man, felt at once
alien and curiously committed to the challenges of finding home;
and John Kinsella s base was in the wide open violently beautiful
landscape of western Australia, his home ground, thick with memory
and heavy with the language of ecological change, political
ineptitude and artistic defiance. E-mail was the bridge. These two
poets found themselves in the middle of the swirl of political and
social upheavals in their spheresDawes contemplating race in the
crucible of police killings of black bodies in the US, and Kinsella
carrying the weight of contemplating and challenging the injustice
of the theft of indigenous land and country in Australia and the
terrible treatment of refugees and immigrants in that country.
These poems reflect the very different worlds that have shaped
these writers, and in the wonderful way that poetry can chart the
unpredictable journey towards friendship. They also reflect
commonalities: love of family, regret, cricket, art, politics,
music, and travel. Indeed, there is much in these poems that
provides us with a remarkable accounting of what can occupy and
frighten and delight two thinking and creative men who have devoted
a great deal of energy and time into making poems in the day to day
unfolding of our world. The pleasure that is seeded into the poems
is apparentin poem after poem one senses just how each is hungry
and anxious to hear from the other and to then treat the surprises
and revelations that arrive as triggers for his own
lyricintrospective, risky, complex and formally considered and
beautiful. The respect and admiration that these two poets have for
each other is apparent in the poemsin the echoes, in the ways in
which they stretch one another, and in the ease of languagea kind
of poetic honesty that comes from authority, assurance, and
curiosity. This was an accidental pairingan email exchange between
an editor and a poet that blossomed into a dare of sorts, and then
into a project that came under the brilliant scrutiny of two
prolific artists writing at the height of their poetic strength.
Speak from Here to There reminds us of the ways that poetry can
offer comfort and solace to the poet and how, at the same time, it
can supply the ignition for a peculiar creative frenzy that
enriches us all."
Nuclear Theory Degree Zero: Essays Against the Nuclear Android
investigates the threat conveyed and maintained by the nuclear
cycle: mining, research, health, power generation and weaponry.
Central to this polyvalent 'report' on the infiltration of our
lives and control over them exerted by the industrial-military
complex, are critiques of the creation, storage and use of atomic
weapons, the exploitation of Australian Aboriginal people and their
lands through British atomic testing in the 1950s, and an expose of
a language of denial in the world of nuclear mining/energy/military
usages. 'Nuclear' is also parenthetically investigated in its
function as extended metaphor and question for poetry and poetics.
Key is a consideration of the use of the language of the 'atomic'
in cultural spaces, and in 'the arts'. Indigenous land-rights
claims in the face of uranium mining, the semantics of waste and of
the glib usage by nuclear power companies of the fact of global
warming to suit their own corrosive agendas. The triumphalism of
scientific and cultural discourse around 'nuclear' and the threats
by nuclear fission are by association brought into question. The
nuclear cycle throws the whole future of human beings into doubt,
and this book seeks to assemble new resources of resistance through
creative and critical mediums, including poetry and poetics. The
chapters in this book were originally published as a special issue
of Angelaki.
Shortlisted for the Queensland Literary Awards, Steele Rudd Award
for Australian Short Fiction. In the Shade of the Shady Tree is a
collection of stories set in the Western Australian wheatbelt, a
vast grain-growing area that ranges across the southwestern end of
the immense Australian interior. The stories offer glimpses into
the lives of the people who call this area home, as we journey from
just north of the town of Geraldton to the far eastern and southern
shires of the region. Cast against a backdrop of indigenous
dispossession, settler migration, and the destructive impact of
land-clearing and monocultural farming methods, the stories offer
moments of connection with the inhabitants, ranging from the
matter-of-fact to the bizarre and inexplicable. Something about the
nature of the place itself wrestles with all human interactions and
affects their outcomes. The land itself is a dominant character,
with dust, gnarled scrubland, and the need for rain underpinning
human endeavor. Inflected with both contemporary ideas of short
fiction and the "everyman" tradition of Australian storytelling,
this collection will introduce many readers to a new landscape and
unforgettable characters.
This Pivot book provides a wide-ranging and diverse commentary on
issues of legibility (and illegibility) around poetry, antifascist
pacifist activism, environmentalism and the language of protest. A
timely meditation from poet John Kinsella, the book focuses on
participation in protest, demonstration and intervention on behalf
of human rights activism, and writing and acting peacefully but
persistently against tyranny. The book also examines how we make
records and what we do with them, how we might use poetry to act or
enact and/or to discuss such necessities and events. A book about
community, human and animal rights and the way poetry can be used
as a peaceful and decisive means of intervention in moment of
public social and environmental crisis. Ultimately, it is a poetics
against fascism with a focus on the well-being of the biosphere and
all it contains.
In this daring new collection, Australia's preeminent environmental
poet confronts the legacy of Thoreau's Walden. With Walden as his
inspiration, John Kinsella moved with his family back to rural
Australia, where he wrote the poems in this original collection
exploring the nature of our responsibility and connection to the
land. from "We Spend Days in This House" We spend days in this
house but not nights. We have seen the early morning sunlight
infiltrate the eucalypts, sunset deflected by acacias. We have
sweltered at midday. We have walked every acre intimately. The
kangaroos recognise us and linger. We spend days in this house but
not nights.
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The Wound (Paperback)
John Kinsella
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R335
R273
Discovery Miles 2 730
Save R62 (19%)
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Ships in 12 - 17 working days
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The Wound is the latest collection from esteemed Australian poet
John Kinsella, whose previous accolades include the Grace Leven
Poetry Prize, the John Bray Award for Poetry, the Age Poetry Book
of the Year Award, and three-times winner of the Western Australian
Premier's Book Award for Poetry. Kinsella describes himself as a
'vegan anarchist pacifist', and The Wound was inspired by his anger
towards the destruction being wrought on the West Australian
coastal bushland by the controversial proposed construction of the
Roe 8 Highway Extension, which environmentalists protested would
endanger the area's wildlife, the biodiversity of which is equal to
that of the whole of England. In this collection Kinsella mixes
mythology with modernity, as this collection includes two books of
poems, the first inspired by the character of Mad King Sweeney from
Irish epic Buile Shuibhne, and the second comprised of works
'interacting' with poems written by German Romantic Friedrich
Hoelderlin.
Hilda Raz has an ability "to tell something every day and make it
tough," says John Kinsella in his introduction. Letter from a Place
I've Never Been shows readers the evolution of a powerful poet who
is also one of the foremost literary editors in the country.
Bringing together all seven of her poetry collections, a long
out-of-print early chapbook, and her newest work, this collection
delights readers with its empathetic and incisive look at the inner
and outer lives we lead and the complexities that come with being
human. Showcasing the work of a great American voice, Letter from a
Place I've Never Been at last allows us to see the full scope and
range of Raz's work.
In John Kinsella's new collection, 'Sack' not only refers not only
to the shocking title poem, where a tied, writhing sack is seen
flung from a car into gully - but also to the sacking and
exploitation of the landscape and those who labour on it. Kinsella
draws vividly on 'childhood memories' - but reveals them for the
hard truths they are, by subtracting the cushioning effects of
nostalgia. Kinsella shows how childhood prefigures our adult
experience, and how its residues (here, those also take the literal
form of asbestos and radiation) influence and shape our futures.
Elsewhere, Kinsella resurrects an old form to do new work: the
'penillion' is an old Welsh stanza whose concision and insistent
musicality provide the ideal means to encapsulate and concentrate
Kinsella's vision of the land, animal life, and our sometimes
fraught relationship with both. These short poems reveal
astonishing and unsuspected correlations between music and form,
place and language - and will come as a delightful surprise to
those who know Kinsella primarily as a freewheeling long-form poet.
But throughout Sack, the articulate urgency of Kinsella's lyric
builds to nothing so much as a call to action, and underlines John
Kinsella's reputation as one of the greatest Australian poets of
the last fifty years.
The tempestuous email correspondence between Kathy Acker and
McKenzie Wark, shimmering with insight, gossip, sex, and cultural
commentary. "Why am I telling you all this? Partly 'cause the whole
queerness/identity thing for me stretches through everything,
absolutely everything. Slipping between straight/gay is child's
play compared to slipping between writer/teacher/influence-peddler
whatever. I forget who I am. You reminded me of who I prefer to
be." [M.W.] "It's two in the morning... I know what you mean about
slipping roles: I love it, going high low, power helpless even
captive, male female, all over the place, space totally together
and brain-sharp, if it wasn't for play I'd be bored stiff and I
think boredom is the emotion I find most unbearable... " [KA] -from
I'm Very into You After Kathy Acker met McKenzie Wark on a trip to
Australia in 1995, they had a brief fling and immediately began a
heated two-week email correspondence. Their emails shimmer with
insight, gossip, sex, and cultural commentary. They write in a
frenzy, several times a day; their emails cross somewhere over the
International Date Line, and themselves become a site of analysis.
What results is an index of how two brilliant and idiosyncratic
writers might go about a courtship across 7,500 miles of
airspace-by pulling in Alfred Hitchcock, stuffed animals, Georges
Bataille, Elvis Presley, phenomenology, Marxism, The X-files,
psychoanalysis, and the I Ching. Their corresepondence is a Plato's
Symposium for the twenty-first century, but written for queers,
transsexuals, nerds, and book geeks. I'm Very Into You is a text of
incipience, a text of beginnings, and a set of notes on the short,
shared passage of two iconic individuals of our time.
This is a selected works from Alvin Pang's previous five
collections. Throughout the selection Pang writes about meditation
to unsentimental love poems to writing that is satirical. Wry and
shrewd, the poems promote intelligence and sensitivity. They mock,
celebrate and unsettle, are generous and beautiful, full of
paradoxes, logic and illogicalica, and are at once recognizably
national and international in reach, offering a fresh edgy energy
to the wave of urban poetry emerging from Singapore.
Australian John Kinsella is one of the most highly regarded poets
currently writing in English. Taking Edmund Burke's 250-year old
masterpiece A Philosophical Enquiry into the Origin of Our Ideas of
the Sublime and Beautiful as his template, Kinsella has produced
his most accomplished and broadly representative work to date.
Shades of the Sublime & Beautiful is a warm, human, anecdotally
rich book, concentrating many of the themes that have obsessed its
author over the last twenty years: language, love, the invocation
of place, the mysteries of the Australian wilderness, and our
mediations between the human and natural realms. Together, these
lyric meditations build towards a profound thesis on the ecology of
the imagination, and are always conducted in concrete, vivid and
exuberant language that is unmistakably Kinsella's own. 'Kinsella's
poems are a very rare feat: they are narratives of feeling. Vivid
sight - of landscapes, of animals, of human forms in distant light
- becomes insight. There is, often, the shock of the new. But
somehow awaited, even familiar. Which is the homecoming of a true
poet' George Steiner 'John Kinsella is an Orphic fountain, a
prodigy of the imagination . . . he frequently makes me think of
John Ashbery: improbable fecundity, eclecticism, and a stand that
fuses populism and elitism in poetic audience' Harold Bloom
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