Monthly Archives: February 2010

Family Day, Perth Writers’ Festival

It was hot. It was humid. It was fantastic.

Let’s just say I was there from start of day until close of business and I do not do 95f8c-james4festivals/large gatherings of people well at all. I’m the hermitty type most drawn to Michael Leunig’s favoured “…Festival of Clouds/the festival that doesn’t pull the crowds”, so for me to put in eight solid hours at a festival says something about the event.

We spent the day outside under the trees, as writer after writer appeared before us on the Kids’ Courtyard Stage (I presented there last year, at midday, in similar, soupy conditions, and let me tell you it is much more relaxing lying back on cushions on the grass, in the shade).

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Reading on the Moon

Or rather, at the Moon. If you grow weary of the international excellence and convivial literary atmosphere that is the Perth Writers’ Festival, come up to the Moon Cafe and enjoy the local excellence and so-called ‘op-shop decor’ (to quote the West) of Perth Poetry Club.

I’ll be reading on Saturday 27 Feb, in two slots from around 2pm and there’ll also be open 52e36-moonlogoblack2mic for those of you so inclined.

I hope my legs don’t break/reading at the Moon.

Perth Poetry Club: “Where Slams Meet Sonnets”.
The Moon Cafe: 323 William St, Northbridge.

PIPs

Three days in and the poem-no-longer-in-progress-but-now-declared-finished count is two. That’s not bad, given that I’ve also managed a daily minimum of 1000 words on my novel-in-progress as well as various other bits and pieces that have been clamouring for my attention. And also given that my house currently looks like this:

So there is a lot going on here, about which more later.

Meanwhile, there are three hours remaining until midnight, and therefore still the chance I might increase my PIP count to three for three.

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Poetry Week

Bet you didn’t realise it was Poetry Week, did you? That’s because i) poetry-related events tend to pass most people by without notice; and ii) it’s only at my house, or more specifically, in my brain. Yes, it’s a self-declared Poetry Week in which I undertake to gather together the fragments of the many poems-in-progress (PIPs?) scattered here and there on my computer and my desk and in the dusty corners of my mind. I’m reading at Perth Poetry Club next Sunday and am weary of cracking open my little book Cleanskin to read the same poems over and over.

So I hereby resolve to complete one new poem a day between now and then. I know I can do this because I have so many poems that are ‘almost there’, that need just that final push of commitment to bring them to completion. And I’ve been resisting it – partly because I have a lot of other things going on and partly because bringing something to completion implies a sort of satisfaction with its final shape, a letting go I’ve found myself reluctant to participate in. It’s not quite a lack of confidence; though it can be confronting to declare something ‘finished’, laying it open to review, I don’t think that’s it in this case. I think it has more to do with enjoyment of the process. I like the openness of a poem in process, of the sense of possibility. Once it’s done, it’s done, and it feels like a kind of abandonment, a shutting down of the process of exploration and association I find so appealing.

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People of Perth, This is Awesome

This post is not about writing or reading or books. But it is about art and creativity and bringing the audience to the work and the work to the audience, which is in fact not really an audience but a key part of the work, simultaneously constructing it as they consume it and performing various other acts of deconstructive postmodernist discursive etcetera.

Oh, and getting wet.

People of Perth, this is awesome. And not just because you can – nay, must – get really, really e08ff-p1030446wet in the centre of the city. But because, delightfully, while it’s about constructing walls, it’s at the same time about breaking them down, not just in water and rooms, but in people.

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The Invisible Underside

I’m deep in writing mode at the moment. I’m also deep in re-writing and proofing and a range of other things. And reading, always reading. I’ve been reading Eireann Corrigan, an author I discovered by accident when I inherited the Writing for Children course at Curtin University from Georgia Richter. Readings from the course’s previous incarnation included a short excerpt from one of Corrigan’s books (a YA poetry memoir titled You Remind Me Of You) – just a few poems but enough for me to immediately see that this was great stuff, and wonder why I hadn’t heard of her before. I haven’t managed to track that book down yet but I did find Splintering – a YA verse novel – and was reassured that Corrigan is as fiercely talented as those first few pages – even the first line, which made me stop in my tracks – had me believe.

Here is that rarest of things – a verse novel which doesn’t sacrifice the focus and richness of language poetry demands in the service of narrative, which achieves, effortlessly it seems, that precarious balancing act or fusion in which both elements pull equally together.

Effortlessly.

It seems.

The writers reading this are smiling their wry writerly smiles right now. Because they know exactly how much effort goes into effortlessly.

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