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Notes
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Editor's note: This editorial was penned on Kaurna Yerta, the lands of the Kaurna People. As a non-Indigenous person living on stolen land, I pay my respect to Kaurna Elders, and to all Aboriginal and Torres Strait Islander people, whose sovereignty was never ceded. This always was, always will be Aboriginal Land.
Contents
- Australia-India : Treasures from the Album of Human Memories, single work essay
- ‘The Source of His Infection’i"Mr Jones of the Manor Farm", single work poetry
- “We Are Attempting to Aggregate Information So It Is Easy to Find”.i"Napoleon approved of this poem", single work poetry
- ‘Scorching Bonfire’i"This summer is unlike any other. It burns holes in the", single work poetry
- Infernos Burn Slow and Long Here’i"Once sylvan, the city’s innards remain wounded and critical; bleed profusely.", single work poetry
- Tracing Covid-19 Via Darwin to Mumbai-Delhi Routes : A Collaboration between Adelle Sefton-Rowston and Sunil Sharma, single work essay
- Rite of Passagei"this stony mythological passage", single work poetry
- Pret Shila (The Stone for the Spirits yet to Attain Liberation), Gaya, Bihar, Dusshera 2012i"the steep flight of steps on this ancient hill", single work poetry
- Festival of Lighti"when the town wore light", single work poetry
- Arriving in Gaetai"shifting landscape blurs days", single work poetry
- Hymn to Possibility (Shelley)i"on the balcony", single work poetry
- Hymn to Possibility (Twombly)i"on the balcony", single work poetry
- Pricki"in that enchanted grotto temple", single work poetry
- Purposei"the offseason swarms of bees", single work poetry
- Mystic Riveri"that melody of the flute", single work poetry
- Black Mirror (Invasion)i"When I put it all together", single work poetry
- Black Mirror (Aversion)i"black mirror", single work poetry
- Love in a Warm Climatei"I’ve exhausted every natural resource", single work poetry
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The Pilgrimage : A Cross Cultural Discourse between Bishnupada Ray and Dominic Symes,
single work
essay
Editor's note:
For this collaboration, each poet initially sent three poems to the other, after which they wrote new poems responding to those received. This article presents the initial poems, followed by the responses, followed by reflective commentaries in which each poet discusses their experiences of and learning through this creative and dialogic process.
The work presented here redevelops materials previously published in TEXT: Journal of Writing and Writing Courses special issue number 60 (https://textjournal.scholasticahq.com/article/23520-sites-and-citations). The previously-published work has been reconsidered and reframed in the light of more recent social, political, and historical developments, particularly those related to the ongoing impact of COVID-19 and the global climate crisis.
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The Quiet of the Sky : A Conversation about Poetry across and within Time and Place,
single work
essay
'This article explores the dialogue between two poets: DC Chambial, who lives in the northern Indian state of Himachal Pradesh and myself — Cameron Hindrum — living on the island state of Australia, Tasmania. This dialogue has been occurring broadly over the last couple of years, across which we have been swapping poems, responses to each other’s poems, and snippets of our lives and histories. For the specific purposes of this chapter, I have focused on the emergence of the poetic muse in each of us, and how — in different cultures, at different times, on different continents — the impulse of poetry has driven us both to explore our environments, our histories and the parameters of our knowledge of the world — or at least, our respective local areas within it. When asked about the constant of his island home (St Lucia) in his work, Derek Walcott replied that “What we can do as poets in terms of our honesty is simply to write within the immediate perimeter of not more than twenty miles really.” (Holland-Batt, 2021, 196) Consequently, in what follows I will be navigating the intersection of history, inspiration, context and creativity in providing a concise illustration of two poets in their place and time, as contrasting as they are, utilising poetic craft to examine respective environs that could not be more distinct from one another. To focalise this navigation further, I draw on two specific individual influences that have emerged: the work of William Wordsworth, and that of Philip Larkin. The contrasting poetics of these two giants of the canon provide illuminating and provocative punctuation for the aesthetic conversation between two poets on different sides of the planet, and their reflections on the craft of poetry.'
(Introduction)