Tag Archives: Poetry

Poetic Journal: 20 December 2017: ‘Ha’penny Bridge.’

24 Dec

Day 4 of the journal – I observe the Christmas lights from one of the famous bridges across the Liffy.

 

 

The Liffy reflects back the Christmas lights
on Ha’penny Bridge forming an imperfect

oval. The river is as still as a mirror
yet the image is distorted slightly

on the southern side – a grimace
more than a smile. So perhaps

the opposite of a Dublin frown
is not complete happiness.

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“I can be tight and nervy as the top string on a violin” appears in ‘Tincture’ Issue 17

9 Mar

I’m excited to find my short poem, “I can be tight and nervy as the top string on a violin”, which is based on a line from a Sylvia Plath short story, has found its way into the latest issue of Tincture (Issue 17).

Tincture is an unusual journal as it is available in ebook formats (EPUB and kindle) only, no print or on-line versions. There are, a number of advantages to this strategy, Tincture can produce a journal which is available for sale to anyone with an internet connection and a device running freely available software. It is also able to sell the journal, something which is difficult for most online journals running on blogging platforms. Finally it can sell each issue at a fraction of the cost of a compatible print version. By establishing a income stream Tincture is also able to pay its contributors, something all writers should appreciate. There is, of course, on the other hand the issue of accessibility. One can’t simply click on a link, or order a hard copy, and start reading. But all in all Tincture is a innovative concept in the Australian literary scene, which has been running for seventeen issues now, and which deserves our support.

If the fact that Issue Seventeen contains my poem isn’t enough to convince you to click on http://tincture-journal.com/buy-a-tincture/ and buy it, here is the table of contents for the issue:

 

Editorial, by Daniel Young
Some Days, by Rebecca Jessen
Moederland: Part One: I’m Not From Around Here, by Johannes Klabbers
Political Reflections: The Day Trump Won, by Alexandra O’Sullivan
The Need for Poetry, by Mindy Gill
Water Lily, by Douglas W. Milliken
Ethanol, Eschar, by Charlotte Adderley
WWJD? by Nathanael O’Reilly
Compass, by SJ Finn
Plum, Flower, by Eileen Chong
Shoes That Go Krtz-Krtz, by Tamara Lazaroff
Beach Road, by Thom Sullivan
Great Expectations, by Denis Fitzpatrick
Avid Reader, by Rosanna Licari
Running Away from the Circus, by Philip Keenan
Spider, by Ailsa Dunlop
From ‘Autobiochemistry’, by Tricia Dearborn
Our Mate, Cummo, by Dominic Carew
“I can be tight and nervy as the top string on a violin”, by Mark Roberts
Venus, by Grace Jervis
Last Post, by Aidan Coleman
Fighting for Breath, by Paul Threlfall
Combination Soup, by Pam Brown
You Are Cordially Invited, by Sean Gandert

So click away and you could be reading the latest Tincture in a matter of minutes!

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‘outcomes’ and ‘cutting the grass’ appear in the November 2016 issue of ‘The Basil O’ Flaherty’

17 Nov

The Basil O’ Flaherty is an interesting newish on-line journal run out of the US by  J.K. Shawhan. In the best tradition of small literary journals it was established by a writer wanting to create outlets for the sort  of writing and artwork she was interested in – 30 years ago it would have been gestetnered or photocopied, these days it is a free online journal.

Along with its normal editions The Basil O’ Flaherty is also devoting sections to feminist poetry and poems in translations. It will be interesting to see how these sections develop over the coming months.

My two poems in the current edition can be found at http://thebasiloflaherty.weebly.com/mark-roberts.html. While you are there you can check the archives for my prose piece ‘red’ which was published in the first edition back in March 2016 http://thebasiloflaherty.weebly.com/archives5.html

‘Forgetting is So Long’ – Love Poetry by Australian Men

14 Oct

Forgetting is so Long: An Anthology of Australian Love Poetry edited by Robbie Coburn & Valli Poole. Blank Rune Press 2016

 

Love is so short, forgetting is so long.
………………………… – Pablo Neruda

forgetting-is-so-long-2

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When we think of anthologies were generally think of larger books with lots of pages so it was exciting to be asked to contribute to a chapbook anthology of Australian love poems. Some years ago I had some poems in the Inkerman & Blunt Australian Love Poetry anthology. That was a huge, diverse and ultimately uneven anthology (as anthologies of that size tend to be). Forgetting is so Long is the opposite – it is a small, beautifully constructed chapbook and it features love poems by men. When I was submitted my poems to Robbie Coburn I was unaware that the anthology would be purely love poems by men but I have been pleasantly surprised by the result and the company in which my two poems have landed. There is a hint here of a different masculinity, something that deserves to be explored in greater depth.

Along with my work Forgetting is so Long contains poetry by Ashley Capes, Robbie Coburn, Glenn Cooper, Phillip Hall, Ramon Loyola, Pete Spence, David Ellison, Andy Jackson, Ariel Riveros Pavez, Kenneth Smeaton and Les Wicks. It is available from Collected Works Bookshop in Melbourne or you can contact the publisher for details on how to acquire a copy blankrunepress@gmail.com

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Mark Roberts on Christopher Barnett – Poetry and Collaboration

22 Sep
Luciano Prisco ‘Buio’, 2016, oil on canvas

Luciano Prisco ‘Buio’, 2016, oil on canvas

I was recently asked to write an introduction on the work of Christopher Barnett for an exhibition of paintings by Luciano Prisco and poems by Christopher Barnett which is currently showing at the Langford 120 Gallery (120 Langford Street North Melbourne Victoria 3051) until 9 October 2016.  Christopher has been one of the great influences on my work and my understanding of poetry and literature and I hope that this is reflected in this introduction – if nothing else this project has also introduced me to the wonderful paintings by Luciano Prisco.

The test to my introduction can be found on Rochford Street Review: https://rochfordstreetreview.com/2016/09/12/luciano-prisco-new-works-poems-from-christopher-barnett-mark-roberts-on-christopher-barnett-poetry-and-collaboration/

 

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‘The Age of Rubbish’ – New Poem in Bluepepper

13 Aug

bluepepper

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Bluepepper,
edited by Justin Lowe, is one of my favourite online poetry journals so it is always exciting to have a poem accepted by them. ‘The Age of Rubbish’ is a poem about the recent history of Morrison Bay on the Parramatta River near where I grew up.

http://bluepepper.blogspot.com.au/2016/07/new-poetry-by-mark-roberts.html

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‘The Tiger in the Head’ by Robin Gurr (1990)

9 Jun

The Tiger in the Head by Robin Gurr. Jacaranda Wiley 1987. First published in SCARP No 16. May 1990

The title of Robin Gurr’s sixth collection of poetry, The Tiger in the Head, is echoed in her poem ‘The Visionary at Dawn’:

Inside the cherished

chaparral of his skull

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nestles a stealthy drowsing

tiger

While the poem has, as its departure point, Rousseau’s painting ‘The Sleeping Gypsy’, there are also very deliberate and unmistakable echoes of William Blake. The most obvious refer­ence to Blake is the image of the Tiger. Compare, for example,

a tiger

stalks in emancipated bliss

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flashing poems from its sulphurous eye

with

In what distant deeps or skies

Burnt the fire of thine eyes

                                                                 (Blake)

or

Inside the harsh

Saharas of his skull

,

a tiger

rasps into its pondered mash

(Gurr)

with

What the hammer? What the chain?

In what furnace was thy brain?

                                                     (Blake)

Gurr’s concentration on light and dark, day and night in the opening poems of the collection also recalls Blake. This dichot­omy recalls the Songs of Inno­cence and Experience and, indeed as we progress through The Tiger in the Head, we come across poems with titles like ‘Child in nature’ and ‘Three meetings: Dark, Fear and Death.

For Gurr a celebration of youthful life and naivety is fol­lowed by the realisation of death in the same way as night follows day:

The sea mouths the morning

Then spits it on the shore

The stippled shells hold warnings

that night will come once more

                                                                ‘Shells’

In these poems Gurr moves from the very strict rhythms and rhymes of a poem like ‘Shells’ to the apparent freedom of ‘The Visionary at Dawn’. Her best poems however, are those she keeps under a tight rein. The Plath like ‘The Cutting of the Wind’, with its carefully meas­ured lines which have the effect of emphasising each word, is an example of Gurr at her best:

My face is turned by blade

my mortared limbs were

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cast in clay  earth locked

and burnt to strength

While the highly structured nature of Gurr’s poetry at first seems a little ‘old fashioned’ when compared with the current directions of contemporary po­etry, her obvious skill at utilising traditional forms quickly over­comes any reticence in her read­ers. She doesn’t allow the struc­ture of the poem to dictate to her, rather she uses it to mould her ideas, constantly surprising the reader with unconventional rhythms and sound patterns. Indeed Gurr’s poetry repays a careful reading.

The Tiger in the Head i s a very accomplished collection by a poet who is obviously in complete control of her genre. While the book has been handsomely pro­duced by Jacaranda Press my only complaint is that there is no listing of her five previous collec­tions. This is going to make track­ing her earlier work down diffi­cult for those many readers who may want to read more of Gurr’s work.

– Mark Roberts