Detail ‘Orquevaux Village’ with permission Sharon Monagle, 2018
Welcome to another great year of poetry with Liquid Amber Press! If you love writing, reading or listening to poetry across all its wonderful voices, join us for our next free Poetry Zoom : Thursday, 17 MARCH, 7.30-9.30pm AEDT. Register (free) here to receive the link: https://liquidamberpress.com.au/events/ . Bring your friends! Subscribe to our newsletter to keep up to date with our exciting 2022 poetry events and opportunities: https://liquidamberpress.com.au/
Our feature poet in March will be Mark O’Flynn, reading from his new book of poetry Undercoat: Poems about Paintings (Liquid Amber Press, 2022), to be launched by Peter Minter. And if you’re interested in sharing 3 mins of your own work, get on the Open Mic list quickly, by contacting: info@liquidamberpress.com.au
My most recent book of poetry, This Shuttered Eye (Girls on Key 2021) has been launched! Courtesy of Melbourne’s #4 Lockdown we weren’t able to gather in the Open Studio as planned – but we still had an excellent evening on zoom. The book was superbly launched by poet and colleague Anne Elvey to a ‘full gallery’ of poets, friends and family – and some open mic readings added terrific energy and variety to the evening. Thanks to Girls on Key for the event and to the wonderful Michele Seminara who edited the book – a great experience of close reading exchange. Signed copies of the book are available here.
Visual artist Sharon Monagle and I were thrilled to open the exhibition of 2020 Shelter in Place last week and to launch the book of this collaborative project – a beautiful publication by Liquid Amber Press (available at the gallery or available here).
This was a project based in individual and collective/communal responses to the challenges of 2020 – we’d love to have your company to hear me read through the year’s seasons, surrounded by Sharon’s wonderful art work: Saturday May 1, 2-4 at the Kingston G3 Art Space in Parkdale.
Hi everyone, As we all know, 2020 was certainly a rough ride in many ways. However, for me it was also a very productive time both in terms of my own poetry practice and my collaborations with visual artist Sharon Monagle – even if some of those collaborations were via technology!
2021 is now seeing the culmination of that work, with the recent publication of my latest book of poetry plus a forthcoming exhibition with Sharon.
I’m really proud of my new collection, This Shuttered Eye – all about looking at the world of nature, of art and of human interactions – and how we are shaped by those acts of engagement, the shutterings of the imagination’s eye Available here from Girls on Key Press.
I would also like to announce an exhibition of conversations in poetry and paint, 2020 Shelter in Place, and invite you to attend one or both of our events:
the Opening of the Exhibition on Thursday April 15 (launched by poet Anne M. Carson) and
The book of the exhibition (Liquid Amber Press) will be available at the Gallery – as will the book of the collaborative project Sharon and I did before the onset of Covid-19, Who do I think I am?
This Shuttered Eye – now available from Girls on Key here
I’m pleased to let you know that feminist/inclusive press Girls on Key Poetry are publishing my next book, This Shuttered Eye in 2021. Thanks Anna Forsyth and team! This is a book clustered around the experience of looking – of paying attention to the natural world as well as the world of visual art (hence the Turner image) – and what might happen when that external world, or canvas, or text… is mediated through our own point of view. The eye of perception and interpretation: shuttered, opening, closing, letting in and making sense of.
Thanks to Anne Elvey and Plumwood Mountain for publishing my review of Martin Langford’s new collection of poetry and prose, Eardrum: poems and prose about music (Puncher and Wattman, 2019). A topic that’s very close to my heart!
Here’s a poem of mine which also works to find the shared language of music and poetry:
Polyphony
This is the nature of things this dense fabric
of sound
these threads of what thrums true
in my sternum call it melody
the simultaneity of harmony where threads of pitch or
timbre might intersect surfaces tumbling and
touching each other notes that lean close then
yearn apart suspended shimmering somehow
held together here is
infinity
marshalled for a short time in the generosity
of what is beautiful
cradled in the phrasing of an idea
this pattern a language that strikes
or glides or quivers reverberating
through bodies or wood or silver the hollowed bellows
of its making scribed on air
this is the way the world turns the recurring question
My dear friend Phillip Hall has, with Jillian Hall, just published the first issue of the e-journal burrow.
I’ve been fortunate enough for them to publish a pandemic poem of mine ‘Unleavened: Easter 2020.’ What do we hang on to in such a time of loss and dislocation? And yet there is a persistence, a desire to continue; Easter is one way of telling that story.
This poem, published as ‘Further, or Autumn Isolation 2020,’ has now been published in Text journal, special issue 58, The in/completeness of human experience.
Somewhere around early April we travelled down to our weekender to bring supplies to our daughter who was in quarantine there after returning from overseas. Coming out of the cocoon of home, I was almost surprised to see that the beautiful balmy world of autumn was still out there, patiently waiting for us, maybe wondering what we’d be like when we emerged and re-entered it.
Further
Isolation in Melbourne: April 2020
‘I love our house…It’s probably a bit of a dump to some or a castle to others, but for me it’s a light-filled container full of people I love.’ Sarah Watt[1]
The sanctity of this marked out space
this collective turning inwards
the quiet comfort of walls angle of stair
our bed creaking as we turn
ripening of garden figs in afternoon light or
voices drifting down a corridor –
while streaming away like photons dissolving in air
the further world still lies
bemused and utterly beautiful
beneath a creamy sun
its fields and stony
rises streets and verandahs all tipped
skywards and slipping
gently from summer’s ferocious grip
waiting for us – as though
through a frosted pane
we had never really seen it before
rolling out its carpets of recurrent green
never stood amongst the low thrumming
of unfolding seasons or travelled
its wide and gusting territories of shift
and hold and shift
[1] Sarah Watt and William McInnnes, Worse Things Happen at Sea: Tales of life, love, family and the everyday beauty in between,’ Hatchette, 2011, p.244.
This season of easter and of passover comes in the middle of the corona virus pandemic. Apart from the sad fact that, as in Narnia, all holidays are cancelled, it’s not a bad time to think about these narratives and traditions which concern the human relation to death and our persistent desire to somehow overcome it. It is a relationship certainly characterised by anxiety and grief; yet, at our best, we can glimpse the possibilities of change and acceptance, those small transformations of shift and slip.
1666. Bubonic plague devastates London and Isaac Newton retreats to his family home at Woolsthorpe Manor. Self-isolation, long months of being in close quarters, no external stimulus – just the quiet world around him and the rising, creative life of the mind. Quite a combination as it turned out.
What can you see, what new constellation of elements – as the noise and frenzy of the great world slows, as the quietness of garden, autumn sunlight, the passing of hours, comes inexorably into view?
First published in Plumwood Mountain, a poem from my second collection Unexpected Clearing (UWAP 2016) – certainly more prescient than I could have known.
roselucaspoetry 