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Celebrated poet Laurie Duggan's first collection with Giramondo. Laurie Duggan's new collection begins with poems written during his last year in Britain, in Faversham, a market town in east Kent, with others written on a visit to Australia in 2016 and after his return in October 2018. They contribute to two on-going sequences, Allotments, and Blue Hills, which alludes to the long-running domestic radio serial of the same name. These are made up of the brief haiku-like poems that Duggan has made his own: impressions, mysterious conjunctions, oddities and contradictions, the small details that express large forces, as in his observations of the landscape, the weather, domestic and suburban settings. In the final section, Afterimages, Duggan offers descriptions of paintings and comments on artists, and sometimes imaginary constructions of what a particular artist might have done, but the real point is to create poems which stand like art works in their own right.
The Passenger is a collection of poems that shows Duggan's continued interest in place and a marked tendency to memorialise; that is, a continued interest in ways of rendering the world and the world of experience as both present and as fragile. 'One of the most versatile, politically aware and entertaining poets in Australia.' The ALS Gold Medal Judges' Report 'Duggan's technical and emotional range, his grasp of history and ability to let the record stand - all take on a richness and freshness rare in local poetry.' Carl Harrison-Ford, Sydney Morning Herald Winner of The Age Poetry Book of the Year award (for Mangroves ), 2003
"The Ash Range" is a long work that mixes prose, poetry, reportage and illustrations to narrate a history of the settlers' engagement with Gippsland, in S.E. Victoria, the narrative running through until the latter half of the 20th century.
The Women, Gender and Development Reader II is the definitive volume of literature dedicated to women in the development process. Now in a fully revised second edition, the editors expertly present the impacts of social, political and economic change by reviewing such topical issues as migration, persistent structural discrimination, the global recession, and climate change. Approached from a multidisciplinary perspective, the theoretical debates are vividly illustrated by an array of global case studies. This now classic book, has been designed as a comprehensive reader, presenting the best of the now vast body of literature. The book is divided into five parts, incorporating readings from the leading experts and authorities in each field. The result is a unique and extensive discussion, a guide to the evolution of the field, and a vital point of reference for those studying or with a keen interest in women in the development process.
These essays by Philippine and U.S.-based scholars illustrate the dynamism and complexities of the discursive field of Philippine studies as a critique of vestiges of "universalist" (Western/hegemonic) paradigms; as an affirmation of "traditional" and "emergent" cultural practices; as a site for new readings of "old" texts and "new" popular forms brought into the ambit of serious scholarship; and as a liberative space for new art and literary genres.
This is the debut poetry volume of Tasmanian Kathryn Lomer, recent winner of such prestigious poetry competitions as the Gwen Harwood 2003 and Josephine Ulrick 2000. Themes of love and forgiveness, birth and parenthood, travel and homeland are explored in the crisp and dextrous prose.
In these thirty-five interviews with verse novelists from Australia and Aotearoa–New Zealand, Linda Weste explores the uniqueness of storytelling through poetry and the genre of the verse novel. Her subjects are notable representatives of a region where verse novels for Adults, Children and Young Adults thrive; among them is Steven Herrick, winner of the prestigious Deutscher Jugendliteraturpreis in 2019; and what they have to say enriches our understanding of the verse novel across each of its publishing categories.
Learning to Draw / A History is an evolving and transformative narrative sketch, alternately prose and poetry, that serves to document a personal and yet collective history with a roving artist's eye. Previously serialised in a number of small journals and zines, the work has met with some acclaim and this is the first complete version in a new architectural alignment. Although from post-war Britain, Basil King's literary lineage harkens back to the projective verse style of Pound and Williams, sweetened through his working associations with the likes of Blackburn, Ginsberg and Baraka. The weaving of subjects in this work is not unlike the purposeful mixing of colours on an artist's palette.
Here are poems that mock lectures, poems that explicate and misunderstand other poems, the poem as catalogue essay, the poem of curious, favourite lines - and of lines spun from them, and the poem as letter ... the collaged poem, of restlessness, disquiet and rancorous beauty. And more.
New Zealand has to rebuild the majority of its second-largest city after a devastating series of earthquakes – a unique challenge for a developed country in the twenty-first century. The 2010-2011 earthquakes fundamentally disrupted the conventions by which the people of Christchurch lived. The exhausting and exhilarating mix of distress, uncertainty, creativity, opportunities, divergent opinions and competing priorities generates an inevitable question: how do we know if the right decisions are being made? Once in Lifetime: City-building after Disaster in Christchurch offers the first substantial critique of the Government’s recovery plan, presents alternative approaches to city-building andarchives a vital and extraordinary time. It features photo and written essays from journalists, economists, designers, academics, politicians, artists, publicans and more. Once in a Lifetime presents a range of national and international perspectives on city-building and post-disaster urban recovery.