Category: Publishing News (page 1 of 8)
Yes, in the words of Jersey-based pop band Real Estate, ‘It’s real!’
Seven years in the making.
Trans-continental in its composition.
Green as a blade of grass in its wrapping.
Leaves of Glass is real.
‘But what’s it all about …’ I hear you whisper.
Well, as I’ve explained here and here and here, Leaves of Glass is a book of poems (47 in all) based on actual correspondence between American ‘Dead Poets Society’-inspiration Walt Whitman (W.W.) and Aussie no-hoper poet Bernard O’Dowd (B.O’D.). These two cats wrote letters to each other in the 1890s in which they poured their hearts out to each other and generally raved on.
In fact, to be honest, most of the outpouring and ranting was on the part of B.O’D. For his part, W.W. seems to have enjoyed the attention, and wrote back to B.O’D with a sort of ‘I’m amused but only in a flattered way’ tone, as if he’d known him his whole life. Between them, W.W. and B.O’D. racked up at least twenty letters, although it’s apparent that many of the letters are missing.
All of which possibly does little to explain why I became so fascinated by this weird ‘roaring days’ correspondence. Call me old-fashioned, call me what you will — I guess I just found the whole thing kind of funny and sad at the same time: funny because B.O’D. was so obviously besotted with his ‘revered master’, but sad because the two of them were unlucky enough to have been writing a century too early to benefit from the Internet and email.
Anyway, my book – called Leaves of Glass in homage to Whitman’s Leaves of Grass – takes the correspondence as its cue and features poems about both B.O’D. and W.W. as well as re-writes (cover versions) of their works. It’s published by Puncher and Wattmann and is available via the P&W website and in all good (read: about two) bookstores. Or, if you’d like a signed copy, send me a message.
The first ‘launch’ of the book took place at Bella Union bar, Trades Hall, Melbourne on 1 December. The second will take place at Balmain Town Hall on 14 December. Information about both events can be found here. You can also sign up to attend the Sydney event via the Facebook event page.
The book, which was inspired by actual correspondence between Walt Whitman and Australian poet Bernard O’Dowd, and which features re-imaginings of both poets’ works, will be available at two P&W events in Melbourne and Sydney in December 2013 – that’s less than two months from now!
I’m also happy to say that I’ll be in attendance at these shindigs in order to read some poemz, sign autographs and mainline champagne. I’ll post more details soon but I’m looking forward to catching up with loverz of all things Whitman, O’Dowd and Oz-po.
In the meantime, here’s a teaser: ‘O Kitteh! Meh Kitteh!’, a LOLCats transliteration of Whitman’s ‘O Captain! My Captain!’ that may or may not appear in the book.
The truth is, I haven’t had a whole lot to blog about recently. My new job has occupied a lot of my time, as has socialising with colleagues from said job and, when it comes down to it, who wants to hear how many Jäger shots I’ve had in the last thirty days?
‘And yet’. (I’ll explain the significance of this phrase one day). To answer the question posed by Big Star in the title of their song ‘What’s going ahn?’, I can say the following:
(1) I’ve had an academic article published
Hot on the heels of my post-doc research at BTH in Karlskrona, I’m excited to say that ‘Flash points: Reading electronic literature as a metaphor for creativity’ (PDF), an article I co-wrote with Maria Engberg, has now been published in the latest issue of TEXT Journal. To be exact, it’s a part of a special issue entitled Creativity: Cognitive, social and cultural perspectives, edited by Nigel McLoughlin and Donna Lee Brien. So that’s untold.
(2) I’ve presented a paper in Bristol on the subject of myself. Or, um …
A couple of weeks ago I travelled to Bristol, UK for the final ELMCIP seminar, on the subject of E-literature in/with Performance. I presented a paper entitled Davey Dreamnation and the Performance of Self. Here’s the abstract:
And here’s a pic of me and Davey during the delivery of the paper:
(3) My poem Övergången has been ‘analysed’ online …
K. So, that’s not bad: three cool things have happened. And here’s three more cool things that are destined to happen at some stage in the future:
(4) My poem ‘Wireless’ is going to be published in Overland
Not much I can say about this right now, except that I’m rather chuffed that Overland poetry ed. peter Minter has chosen this poem for inclusion in that erstwhile journal of the progressive left in Australia. Wireless first appeared on my blog last year. But don’t let that stop you from checking out Overland’s cool new website.
(5) ‘Clouds Afternoon Jazz Sprinkles’ finds a home … of sorts
My poem ‘Clouds Afternoon Jazz Sprinkles’, dedicated to poet Jill Jones, will be appearing soon as part of a special project. And that’s all I’m saying for now.
(6) I’ll be giving a paper at the ELO conference in June
No, not that ELO. I mean the Electronic Literature Organization (ELO) conference, Electrifying Literature: Affordances and Constraints, which is taking place June 20-23 in Morgantown, WV, US of A. My paper, whose semi-absurd title is “Why ‘But is it e-lit?’ is a ridiculous question: the case for online journals as organic, evolving works of digital literature”, will be part of a panel called Practices: Definitions and Pedagogies for E-Lit, and will be delivered at the godless hour of 8:30am on Saturday 23 June. Here’s the abstract:
I’m looking forward to meeting my fellow-panellists Clara Fernandez-Vara (whose paper is entitled “Electronic Literature for All: Performance in Exhibits and Public Readings”), and Alexandra Saemmer (“The (problematic) issue to evaluate literariness: Digital literature between legitimation and canonization”). I’m also just looking forward to being in a seriously hot and humid place this summer!
So, that’s all for now. Maybe I’ll see you again in a month or so when I’ve got some more news.
For those who’ve been living under a rock for the past century or so, a neenish tart (see picture above) is a delightful Antipodean invention featuring a pastry base, jam and cream filling and distinctive, two-coloured, almost-yin-and-yang-style icing. It’s the kind of cake you’ll find in any halfway decent country town bakery, and one that (courtesy of my mother’s fondness for them) I’ve developed a fair hankering for over the years. Matter of fact, I could murder a neenish tart right now.
Anyway, where was I? Oh yes, Wagga Wagga. It must have been over a year ago that the Booranga Writers’ Centre in Wagga Wagga, Australia (publishers of the magazine FourW, in which I’ve had a few pieces published over the years) put out a call for poems to be displayed on bus shelters in the town. The call for works immeditely ‘piqued’ my interest, as we say in the industry, as I’d spent a fair bit of time in Wagga Wagga as a young grasshopper, either driving through or else strapped into a dentist’s chair.
While my memories of Wagga are not all fond, I wrote three poems and sent them off. The first one (brace-face) was about getting braces in Wagga Wagga. The second one (“Riverina”) was about playing Aussie Rules in Wagga. And the third poem, the one they accepted, was about a neenish tart. It’s called, surprisingly enough, ‘neenish tart’, and for the benefit of all non-residents of Wagga Wagga, I’ve pasted it below:
There used to be this cafe around here
somewhere – maybe it’s still going, do
you know the one I mean? You could buy
a good neenish tart there, with inch-thick
pastry and an ooze of too-sweet jam. Then
there was cream they must have laced with
sugar and icing to die for. I used to live in a
town to the north of here, it doesn’t matter
which one. What matters is the neenish tart,
the one my mum used to buy me whenever
we drove through Wagga Wagga on our way
home from time trials or footy, it depended
on the season. That tart always tasted good.
I especially loved the icing, it reminded me of
yin and yang. I wonder if it’s still there. One day
I’ll come back and walk down the main street,
ask a few people if they remember the place.
Maybe you do?
The sentiments in this poem almost make me feel a little bit teary now – I remember the taste of that neenish tart as if it was yesterday. Recently, I got an email from Derek Motion, the director of Booranga, informing me that
While I unfortunately won’t be able to make it to the launch, the idea of a bus tour sounds like a great one and I really wish I could be there. As a kind of substitute, Derek sent me this photo of the bus shelter where my neenish tart poem is currently living.
It’s almost like being there, don’t you think?
From the editorial by Alan Wearne:
In fact, pretty much every poem of mine that’s beenhas appeared first on this site in some shape or form. So it seemed like a good time to stop doing that and to instead concentrate on writing new poems for my subscribers.
Of course, there remained a handful of poems I had submitted to magazines in the weeks and months leading up to my ‘tabula rasa’. This month I’ve received the great news that six of my little babies have found new homes – four of them in Jacket2, another in the Swedish journal Shipwrights Review and the sixth in online zine Stillcraic.
The poems in Jacket2 are part of a much larger feature on contemporary Australian poetry curated by Pam Brown. Pam’s decision to post poets in reverse alphabetical order means that I’m nestled between Peter Minter and Gig Ryan – a rare thrill! Of the poems, ‘Algae’ first ‘appeared’ in Southerly and is taken from my as yet unpublished collection Leaves of Glass.
‘TL;DR’ and ‘Övergången’, on the other hand, were both written while I was living in Karlskrona and also appeared in my chapbook Övergången. Lastly, ‘Sunshine for Kim Dae-jung’ was in fact composed in Seoul, on the day that the former President of the Republic of Korea died. Read all four poems at their new Jacket 2 home!
I discovered the website of Swedish journal Shipwrights Review quite by accident but was taken by the editors’ emphasis on second-language (by which I assume is meant ‘non-Swedish’) writers. On this basis, I decided to send them some poems, of which they chose my free transliteration of the famous Macedonian poem ‘Т’га за југ’ (‘Longing for the South’). I wrote this poem after returning from the Struga Poetry Evenings in August 2011, and it’s an attempt to describe my own mixed feelings of homesickness and ‘longing’ when it comes to Australia. Read ‘Т’га за југ’ on the Shipwrights Review site!
Finally, my poem ‘Cute’, which is also a part of Leaves of Glass, and which recently found a home in Best Australian Poems 2011, has now been reposted over at Stillcraic, a NZ-based site currently curated by Jennifer Compton. It’s nice to think of my version of Walt Whitman kicking around the online traps …
Apart from one or two forthcoming poems, these are the last to have been published first here on daveydreamnation.com. In the future, I’m hoping to be a little more generous when it comes to journals, and will be sending them only fresh poems that have not previously been ‘read’ by either human eyes or crawling bots.
The issue contains more poetry and poetics than you can poke a stick at. Here’s a run-down:
Guest Poetry Editor: Jill Jones
Contributors: Gemma Mahadeo, Paul Giles, w.m.lewis, michael farrell, Kevin Gillam, Danijela Kambaskovic-Sawers, Christopher Brew, Mark O’Flynn, Anne Gorrick, Misbah Khokhar, Angela Gardner, Greg McLaren, Mark Young, Scott-Patrick Mitchell, Derek Motion, Jessica Wilkinson, Stuart Cooke, Helen Symonds, Joyce Parkes, Sam Langer, Rory Dufficy, Derek Rawson, Gregory Horne, Jenny Powell, Chris Oakey, Louise Molloy, Jessica Bell, Phillip A. Ellis, Eddie Paterson, Joanne Merriam, Christina Armstrong, Susan Adams, Sean M. Whelan and Isnod, komninos, Philip Norton, Pascalle Burton, Emilie Collyer, Mark William Jackson, Ian Gibbins, Jason Nelson, Konrad McCarthy, Joshua Mei-Ling Dubrau, Benjamin Laird, Maxine Clarke, Gareth Jenkins, Crixus, Jamison C. Lee, Sara Moss, Adam Fieled, Bev Braune, Sally Evans, Tim Wright, Alice Melike Ülgezer, David McCooey and Joseph Baron-Pravda.
I’m also happy to say I’ve got a couple or three pieces in the issue, the first of which is Tiny Steps: the Electr(on)ification of Cordite, a reflection on what it means to be ‘electronic’ or not when it comes to online poetry journals.
In addition, and as a reflection of my time spent this year working as part of the ELMCIP project, I’ve published an interview with Maria Engberg and an interview with Talan Memmott. Maria and Talan are my colleagues at BTH in Karlskrona, and it was great of them to spare some time to chat about all things e-lit.
And I’m delighted to say that my poem (On the tomb of) José Saramago is a tiny part of said Lavender Room Zine-in-a-Matchbox Bumper Poetry Issue (2011)! I’m in some pretty kewl company. Check it:
And this is what the zine looks like, for realz:
You can follow The Lavender Room on, or check out LR products on . And here’s just one more look at what you’re currently missing out on:
Invitation to: Public Lecture and Poetry Reading: organized by BTH Department of Culture and Communication and the EU-Art Line Project
You are invited to attend the following public lecture and poetry reading sponsored by the Art Line project, Digital Art Platform Initiative, and organized by the BTH Department of Culture and Communication.
Lecture Title: “Bonfire of the Vanity Presses – Publishing and Self-Publishing in the Field of Poetry,” presented by David Prater, Ph.D. (Post-Doctoral Researcher, BTH, Department of Culture and Communication)
Date: Nov 16, 2011, 15.15-17.00
BTH, Campus Gräsvik (Karlskrona, Sweden)
This lecture will be based on Dr. Prater’s PH.D. thesis, entitled “Bonfire of the Vanity Presses: Self-Publishing in the Field of Australian Poetry.” The presentation will examine examples of Dr. Prater’s self-published poetry chapbooks and will discuss issues of authorization and reputation raised by the confusion between ‘vanity publishing’ and ‘self-publishing’ as cultural practices. While the thesis does not specifically address the place of digital self-expression within the cultural field, the lecture will offer a chance to discuss the impact of electronic writing on the literary field and on literary arts in the current age of digitalization. Examples of Dr. Prater’s self-published books will be available for viewing during the lecture, which will also incorporate readings from these works.
This lecture is organized by BTH researchers in the Department of Culture and Communication and in the Digital Art Platform initiative within the EU-funded project Art Line. Art Line is an International cooperation between the academy, cultural institutions and tourism within the Southern Baltic region to explore art innovation in physical and digital space. The Digital Art Platform seeks to research, promote, and publish art and creative critical practices informed by developing media phenomena, technology, and artistic expressions.
About David Prater:
David Prater was born in Australia in 1972. He holds a BA from the University of Sydney, an MA from the University of Melbourne and a PhD from Swinburne University of Technology, Melbourne. His first poetry collection, We Will Disappear, was published by papertiger media in 2007, and Vagabond Press published his chapbook Morgenland in the same year. His poetry has appeared in a wide range of Australian and international journals, and he has performed his work at festivals in Australia, Japan, Bulgaria, Canada, the United States, the Netherlands and Macedonia. He has also undertaken two writers’ residencies in Seoul, Republic of Korea, and has worked extensively as a teacher, editor and researcher. Since 2001 he has been the managing editor of Cordite Poetry Review, an online journal of Australian poetry and poetics. He is currently undertaking post-doctoral research on electronic literature and pedagogy at Blekinge Tekniska Högskola as part of the Electronic Literature as a Model of Creative Practice (ELMCIP) project.
For more information about the lecture/reading, contact: Lissa Holloway-Attaway, Senior Lecturer at BTH (email@example.com) or Aje Björkman, Information Officer at Art Line (firstname.lastname@example.org)
The blurb for the book on the publisher’s website states:
1968 marked a turning point in Australian poetry, when a dynamic wave of new poets sought to revitalise a ‘moribund poetic culture’. At the helm of that generation was John Tranter who argued that there would be cycles or generations of poets with peak moments where new poets would emerge to revitalise the culture.
Forty years later, with a spate of superb debut collections, Australian poetry has never looked so energetic and vital. From the imaginatively mind-boggling to the exquisitely lyrical, from tender and edgy erotic currents to wild feats of intellect and playfulness, the dynamism of contemporary Australian poetry is abundantly evident.
Thirty Australian Poets is the first anthology to celebrate the generation of poets born after 1968 and includes a wonderful diversity of voices and styles, from re-imagined versions of traditional forms to the experimental and avant-garde. This groundbreaking anthology captures the spirit of an exciting generation who, between them, have won every major poetry award, and made the renaissance of Australian poetry impossible to ignore.
I think it’s a very interesting premise for an anthology – and it’s also a relief to see no mention of the word ‘best’ in this blurb – but I suspect some people may have a problem with the ageist cut-off date! Again, I haven’t seen the anthology yet (I presume it’s winging its way slowly northward as I type this post) and so I’ll be very curious to see just how representative it is of my so-called generation.
In a sense, any anthology’s premise is going to be a loaded one, and I personally am not a huge fan of generationalism in any guise. However, I also suspect that the use of the term here is slightly tongue in cheek and also deliberately provocative, as Tranter’s The New Australian Poetry (1979) perhaps was. In any case, it’s nice that Felicity selected five of my poems – ‘Sunbathing’, ‘Oz’ ‘Lady Land’, ‘Lurker’ and ‘A821.4′ – for inclusion in the book, particularly as the first three of these are from a manuscript (Leaves of Glass) that I am beginning to think will never be published.
This is, I think, the unspoken truth about the current so-called generation of poets, in that for every anthology that’s printed, maybe a dozen quality collections by emerging or lesser known poets fall by the wayside. While this is a bittersweet truth, it’s still great to know that at least one publisher is willing to showcase poets that the general reader may never have heard of, and I can’t wait to delve into it and discover the works of my faraway peers in a new and hopefully vital context.
Of course I’m chuffed – I’ve tried and failed on many occasions to submit works to this anthology. A brief look at the contributor list alerts me to the fact that this year’s selection is perhaps a little more streamlined than previous editions. I’m really pleased to be in such good company. I only wish that UQP’s Best Australian Poetry series hadn’t bitten the dust.
Unlike its Black Inc. cousin, UQP’s BAP was compiled on the basis of poems published in journals in the previous year, lending it the air of a true ‘Best of’ rather than a survey based upon submissions and solicited works. But then I guess everyone has their own opinion about this issue, and if I was to be really honest, I’d admit that ‘Cute’ would probably never have made it into the UQP anthology, given that it was first published online in the UK.
Anyway, I’m now going to pop open a bottle of champagne, and bask in the refracted glory.
As you were.