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Notes
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Dedication: For Tom Shapcott.
Contents
- Lament on Deaths in Infancyi"The wind should die for a second", single work poetry (p. 1-4)
- The Wind Has Panelsi"Not the seminar kind. The wind has panels", single work poetry (p. 5)
- After the Buildingi"You caught me from the start,", single work poetry (p. 6-7)
- There Is Nothing Like a Roomi"There is nothing like the single room", single work poetry (p. 8-9)
- The Hostel : Remembering a Dreami"Austere building on the hill, weatherboard and stilts", single work poetry (p. 10-12)
- City at Duski"The sun sinks into the summer haze", single work poetry (p. 13-14)
- Ghazal on Signs of Love and Occupation (for Helena)i"Someone's licked a finger, touched it to the mirror.", single work poetry (p. 15)
- Inquiry of the Spirit Bodyi"What shape does it have? Is it opaque and worn inside?", single work poetry (p. 16)
- For My Soni"Is this how the spirit-body moves? First", single work poetry (p. 17-18)
- Spirit to the Bodyi"When I've kissed you, made love to you", single work poetry (p. 19-20)
- The Poet as Columbusi"That addled block of flats in King George St,", single work poetry (p. 21-22)
- Cityprintsi"I dream in fibreglass. (I am fantasy, launched in the mind", single work poetry (p. 23-25)
- Belongingi"This is not the place", single work poetry (p. 26)
- The Chamber and Chamberlaini"The courtroom is underwater opera, aquarium for the deaf.", single work poetry (p. 27)
- Inside the Cultural Centrei"I view the hanging Bacons. The Pope's", single work poetry (p. 28-29)
- A Demonstration of the Van der Graaf Generator for Childreni"The man in the Faraday rage is monkeying about", single work poetry (p. 30)
- Glass 1 : Creation of the Mirrori"A glow spreads on the glass but has no focus", single work poetry (p. 31)
- Glass 2 : We Could Noti"For days one of us carried it", single work poetry (p. 32-33)
- Glass 3 : Defectioni"They come for him before first light, but", single work poetry (p. 34-35)
- The Fishi"The fish was out-manoeuvred", single work poetry (p. 36)
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Philip Salom : Feeding Time to the Contemporary
2018
single work
criticism
— Appears in: Feeding the Ghost : 1 : Criticism on Contemporary Australian Poetry 2018; (p. 59-84)'One way to witness the futility of defining the contemporary is to read someone attempting it twenty years back. Geoff Page's A Readers Guide to Contemporary Australian Poetry (1995) opts, after some vacillations ("does it include last year, last decade or even the last three decades?") to locate it in the poets of the late 60s, "whether they were later considered conservative or radical"—Tranter, Forbes, Adamson, Murray, Lehmann, Gray (1-2). While Page finds it "hard to think of any woman born between 1940 and 1950 who has rivalled the impact of most of the male poets cited so far", Jan Owen (b. 1940), Jennifer Rankin (1941), Joanne Burns (1945), Jennifer Maiden (1949) all are given entries of roughly the same length (8). The critical and commercial success of the slightly younger Dorothy Porter (b.1954) proved a little too contemporary for Page, with The Monkey's Mask reduced to "the verse detective novel she is now working on", even if, four lines below, his own bibliography gives the title and its publication date of 1994—the year prior (228). While the "general loosening up" caused by the "Woodstock generation", paperbacks and live performance has proven fruitful, Page concedes that the majority of his sixty-four chosen poets are no longer writing, with only twenty-four remaining active, the rest "lost to journalism, academia, early death, arts administration, the novel and the counter-culture of northern New South Wales" (2-3)...' (Introduction)
-
Interview with Philip Salom [Salt, vol.1 no.1, June 1990]
1990
single work
criticism
biography
— Appears in: Salt , June vol. 1 no. 1 1990; (p. 43-52) -
Metaphors that Gleam
1990
single work
review
— Appears in: Social Alternatives , January vol. 8 no. 4 1990; (p. 69-70)
— Review of Barbecue of the Primitives 1989 selected work poetry ; Selected Poems 1956-1988 1989 selected work poetry ; Eros in Landscape 1989 selected work poetry ; Charles Buckmaster Collected Poems 1989 collected work poetry -
Reviews
1989
single work
review
— Appears in: Westerly , September vol. 34 no. 3 1989; (p. 92-94)
— Review of Barbecue of the Primitives 1989 selected work poetry ; Beach Plastic : Poems 1989 selected work poetry -
...The Double-Edged Arrow
1989
single work
review
— Appears in: Australian Book Review , August no. 113 1989; (p. 30-31)
— Review of Barbecue of the Primitives 1989 selected work poetry
-
...The Double-Edged Arrow
1989
single work
review
— Appears in: Australian Book Review , August no. 113 1989; (p. 30-31)
— Review of Barbecue of the Primitives 1989 selected work poetry -
Reviews
1989
single work
review
— Appears in: Westerly , September vol. 34 no. 3 1989; (p. 92-94)
— Review of Barbecue of the Primitives 1989 selected work poetry ; Beach Plastic : Poems 1989 selected work poetry -
Metaphors that Gleam
1990
single work
review
— Appears in: Social Alternatives , January vol. 8 no. 4 1990; (p. 69-70)
— Review of Barbecue of the Primitives 1989 selected work poetry ; Selected Poems 1956-1988 1989 selected work poetry ; Eros in Landscape 1989 selected work poetry ; Charles Buckmaster Collected Poems 1989 collected work poetry -
Interview with Philip Salom [Salt, vol.1 no.1, June 1990]
1990
single work
criticism
biography
— Appears in: Salt , June vol. 1 no. 1 1990; (p. 43-52) -
After Poetry (3) : A Quarterly Account of Recent Poetry
1989
single work
criticism
— Appears in: Overland , October no. 116 1989; (p. 64-73) -
Philip Salom : Feeding Time to the Contemporary
2018
single work
criticism
— Appears in: Feeding the Ghost : 1 : Criticism on Contemporary Australian Poetry 2018; (p. 59-84)'One way to witness the futility of defining the contemporary is to read someone attempting it twenty years back. Geoff Page's A Readers Guide to Contemporary Australian Poetry (1995) opts, after some vacillations ("does it include last year, last decade or even the last three decades?") to locate it in the poets of the late 60s, "whether they were later considered conservative or radical"—Tranter, Forbes, Adamson, Murray, Lehmann, Gray (1-2). While Page finds it "hard to think of any woman born between 1940 and 1950 who has rivalled the impact of most of the male poets cited so far", Jan Owen (b. 1940), Jennifer Rankin (1941), Joanne Burns (1945), Jennifer Maiden (1949) all are given entries of roughly the same length (8). The critical and commercial success of the slightly younger Dorothy Porter (b.1954) proved a little too contemporary for Page, with The Monkey's Mask reduced to "the verse detective novel she is now working on", even if, four lines below, his own bibliography gives the title and its publication date of 1994—the year prior (228). While the "general loosening up" caused by the "Woodstock generation", paperbacks and live performance has proven fruitful, Page concedes that the majority of his sixty-four chosen poets are no longer writing, with only twenty-four remaining active, the rest "lost to journalism, academia, early death, arts administration, the novel and the counter-culture of northern New South Wales" (2-3)...' (Introduction)