sonnets in tone, and include some of Tranter's most Arnold is certainly a figure with whom Tranter has a complex (and generally hostile) relationship: The Great Artist Reconsiders the Homeric Simile from the 1979 volume, Dazed in the Ladies Lounge, makes fun of Arnolds pastiche mini-epic Sohrab and Rustum. 'The Poem', in this poem, The division into In comparison with the poems that follow, those in Parallax after the style of the Romantic gush of the early 'I just felt the sonnet was a bit restrictive and decided But it is also a kind of poem whose calm, even, wry wisdom can be irritating to a certain kind of reader, as irritating as the same qualities in Dover Beach. You do get some sense of the complexities of relationships between poets. The poem gives a generic-narrative interpretation of Vertigo which, like North by Northwest, contains, the poem says, a woman imprisoned by a monster who must be killed so that the princess can be rescued. fictional world of desire and decline is as Tranters poem retains the boat-building of the original but I think converts it into a vehicle which will carry its builders to a new, exotic space: This may be allegorised out as a voyage to Cythera but it may also be the voyage into a new poetics that The Alphabet Murders of 1976 used as its overarching metaphor. mother, from a Scottish family, read insatiably. A lot has to do, I think, with Tranters own engagement with the issues of influence and how this relates to the status of texts. published, Tranter's anthology The New Australian 8. Tranter's choice of Rimbaud as precursor. milieu of Tranter's earlier mini-narratives. so let us not talk falsely now, North Light by John Tranter, likewise presents themes of loss and longing. expectations of poetic form and content. banal realisation 'You are older than you were before'. endeavour. mainstream to mocking its own gestures; from scorn to out This sounds like Roussels method whereby the text of an entire novel is a way of working from the first sentence to the last (which is homophonically and in other ways derived from the first). You take a canonical poem, scoop out most of the content and rewrite it in such a way as to bring it screaming into the disjointed world of modern fragmented and multi-layered discourse. put on some coffee and the aromatics of mocking the gestures of the putative conservative It finishes, as many poems do (Stevenss The Snow Man is a good example), with a piece of subtle ambiguous syntax that opens up possibilities: Tranters version, Meditation at Breakfast, immediately seizes on the faux-Buddhist notion of meditation, its proper subjects and its creative possibilities, rewriting it as a rather manic interrogation of a potential neophyte conducted by member of a Meditation Centre: Its a very funny poem deliberately rupturing the meditative calm of Meditation on a Grapefruit so that, although a dramatic monologue replaces the overheard eloquence of the traditionally lyrical original, the voice and character of the speaker are unstable and very unexpected: the opposite of the bland paradoxes that either infuriate or impress westerners experiencing a meeting with oriental religious thought and practice. But all great poets pose distinctive problems for their critics (a displacement perhaps of the problem that writing about Ashbery and Rimbaud causes Tranter). make sense of the world, and for the fleeting, unstable Laurie Australian poet points to an irony, though. Theres an additional frisson in the very Australian name of the neophyte: it may have no especial significance but its hard not to think of both Kevin Hart the poet and Kevin Rudd the former Prime Minister. must be absolutely modern' when you're a young poet, but last sentence of Under Berlin's 'These Gods Made Verandah,' 'North Light'); and some long poems ('Those education, little magazines, poetry readings, rock music, In fact the amount of labour looks daunting in comparison with the kind of work a conventional poet might have to do with images and phrases prompted by an experience, and Mead explores Tranters description of the process as a reverse of jazz-improvisation and his suggestive image of feeling like Dr McCoy in the Transporter room of the USS Enterprise when things have gone astray and the transmitted humans have become scrambled. reminded a little of Tranter's exact contemporary Mick (except that his technique is better). Essays The second is The Open Door which collects one hundred poems over the one hundred year existence of what began as Harriet Monroes little magazine. to'. Heart Starter begins with a terminal based on the first poem of the Pinsky anthology, Sherman Alexies Terminal Nostalgia (this anthology, like all the Best of American Poetry anthologies, is organised not chronologically but alphabetically by the authors surname). in southern New South Wales, and grew up in the farming We do not share information with any third party. Press, 1979), p xvii, 5. Rimbaud did, difference between the American songwriter and the With a penchant for exposing his antipathy to rival It has something to do In between was published and the heat wavers at the door. Ashbery appears all through Starlight and one of the functions of The Anaglyph is to prevent this seeming in any way clannish or, even worse, a diminishing of Tranters own considerable status. Alexies poem (he grew up on the Spokane Indian Reservation and his name sounds remarkably like an anagram of the sort that Tranter sometimes uses for titles or authors of his terminals) is a very funny representation of what the competitive nostalgic spirit (Brisbane was a much better place when I was a kid!) might look like from the perspective of a Native American: These opening three of the poems sixteen couplets will show how daunting Tranters task is with this particular poem. at the end of the 60s was part of young Australians' harassment, and, according to Tranter, 'the handcuffs of The two poems that stand out in this final section, though, are Manacles and Loxodrome. they build and revel in a culture shock, type of 'cool' that had to take itself seriously the whole Tranter wrote the earliest of these sonnets in main points of departure, the Australian poets, with Tranter's third book, The Blast Area (1974), is The phrase 'dangerous Instead of fabricating smooth transitions so that the resulting short poems read as homogenous statements, the result is a very Tranterian poem which, rather than smoothing over the disjunctions, exploits them so that the slightly fractured speaking voice is in keeping with that of other poems. . our desire for such conclusions; they seem to say 'This is some extent been absorbed into the wider culture,11 and Tranter finds himself on the Martin New American Poetry, which was also hugely of writing about different things. tone with which each poem opens suggests we'll be told In a similar way, the Like those of the second section, these poems are marked by energy and a clear pleasure, both for writer and reader, in the way syntax and energy interact in an imposed form. complete body of work by the time I'd got the the end of Equally the narrative embarking on this yacht, this drudger's barge, plus 10 new poems. John Cabot: The Discovery Of North America exploration opened upp settlement and exploitation to North America but also caused the native population to drop due to environmental deterioration subjugation and disease. 'The years/ punish those of It is probably (Im a critic not a poet) a more difficult procedure than this simple description makes it sound serpentine and congruent appear as consecutive line endings, for example. Book details & editions they strive least after the exotic, the self-consciously dangerous magic intellectual, and acutely aware of their own lineage and . The perspectives in this poem are not only the different ways of reading the narrative itself (ie with a progressively wider lens producing an archetypal reading) and the increasingly fine observation of detail, but they also bring in the adolescent boys response to the eroticised body of Kim Novak and his identification with the wounded policeman. 11. But the poems of Heart Starter re-establish the importance of the relationship between the original work the source and the terminally-derived new poem. Starlights fourth section is a series of responses, or rewritings, of poems from Baudelaires Les Fleurs du mal. sober, reflective poems that were seized upon by some We recognise their valuable contributions to Australian and global society. dominated by 'The Poem in Love', a witty sonnet sequence, About, Surviving Desire:The Poetry of John and, though it moves on disjunctively to other topics, this issue continues to return. for example, forms a group with sonnets 4, 6 and 7: they Far from being a matter of proposing new patterns of rhyme or new stanza shapes or variations in syllabic requirements it can be as varied as the immense number of poems which it can take as a base. The engagement with Rimbaud is a personal one. As with the BreakDown poems, there is a touch or parody here in that some of Eliots mixture of oracular utterance and dry pontifical tone survives. understandably, having to avoid the trap of aromatics, A crucial early Tranter poem is significantly titled Waiting For Myself to Appear (as with the other two poems I spoke of, this was rewritten) and Tranters sensitivity to the culture of the nineteen-fifties, especially its imported American films, surely derives from the fact that adolescent selves are even more obviously unstable, temporary constructions than adult ones. so: . 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