Tag Archives: Michael Farrell

Outcrop Readings at University of Kent

Outcrop front cover for FB

Black Rider Presents a reading of Outcrop at the University of Kent tomorrow night. Come for the innovative and significant poetical approaches to land at the crossroads of ecologies and language – featuring readings by Australian poets Laurie Duggan, Michael Farrell and Claire Potter.

Where: Eliot Senior Common Room, University of Kent

When: 6pm – 7pm UTC, Wednesday 22 January 2014

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Pre-sale of ‘Outcrop – radical Australian poetry of land’

Outcrop presale image

Outcrop is a new anthology which collects contemporary radical Australian poetry of land, to be published in July 2013 by Black Rider Press. Delivery of pre-sale purchases will be in July.

Curated by Corey Wakeling and Jeremy Balius, Outcrop transcribes innovative and significant poetical approaches to land at the crossroads of ecologies and language.

The collection, rather than an exhaustive survey, represents a diversity of contemporary Australian radical poetic perspectives. These range from land in content and syntax, to voice, ecology, gesture and land of the body.

These are poetic experiments with landscape and geopolitics, exemplars of radical visions of land.

The anthology is approximately 240 pages in length, with up to 10 pages dedicated to each included poet.

Outcrop features a diversity of contemporary Australian radical poetic perspectives

Outcrop features poetry from Louis Armand, Laurie Duggan, Ali Cobby Eckermann, Kate Fagan, Michael Farrell, Lionel Fogarty, Keri Glastonbury, Matthew Hall, Fiona Hile, Duncan Hose, Jill Jones, John Kinsella, Astrid Lorange, John Mateer, Peter Minter, Sam Langer, Claire Potter, Pete Spence, Nicola Themistes and Tim Wright.

Outcrop is to be launched at ASAL 2013

Outcrop will be launched at the Association for the Study of Australian Literature (ASAL) 2013 Conference at Charles Stuart University in Wagga Wagga.

Held in July, the conference’s theme this year is ‘Country’ with a focus on topics which include the reimagining of the antipodes, discussing notions of country, region and location in literature, the sacred and the profane in country and the interaction between the cosmopolitan and the rural.

Outcrop is available at discounted pre-sale price for 10 days

Outcrop is available at a discounted pre-sale price for the next 10 days only. Save over 20% (including a saving on postage & handling) by pre-ordering Outcrop on Pozible.

Outcrop is available for $20 (inclusive of postage & handling) until 1 June 2013. Once launched at ASAL 2013, ‘Outcrop’ will cost $25 (plus postage & handling).

Also, available for the next 10 days are bundling opportunities, including limited edition printed chapbooks from the Black Rider presents Lyrics chapbook series. This series of chapbooks is usually only available in ebook format. These limited edition printed chapbooks will only be available for purchase as part of the pre-sale of Outcrop and will not be sold again.

For A$30 (inclusive of postage & handling), you can buy a copy of Outcrop at a discounted pre-sale price, plus your choice of one limited edition chapbook of new poetry in the Black Rider present Lyrics series by either Jill Jones, Michael Farrell or Ali Alizadeh.

For A$50 (inclusive of postage & handling), you can buy a copy of Outcrop at a discounted pre-sale price, plus all three limited edition chapbooks of new poetry in the Black Rider presents Lyrics series by Jill Jones, Michael Farrell and Ali Alizadeh.

For A$70 (inclusive of postage & handling), you can buy a copy of Outcrop at a discounted pre-sale price, plus all three limited edition chapbooks of new poetry in the Black Rider presents Lyrics series by Jill Jones, Michael Farrell and Ali Alizadeh, plus a discounted copy of Kirk Marshall’s debut short fiction collection Carnivalesque, And: Other Stories.

And finally, for the most discounted bundle of them all…

For A$80 (inclusive of postage & handling), you can buy a copy of Outcrop at a discounted pre-sale price, plus all three limited edition chapbooks of new poetry in the Black Rider presents Lyrics series by Jill Jones, Michael Farrell and Ali Alizadeh, plus a discounted copy of Kirk Marshall’s debut short fiction collection Carnivalesque, And: Other Stories, plus a discounted copy of Cottonmouth – An Anthology of New Australian Writing.

All pre-sale orders will be delivered after ASAL 2013 in July.

Put your order in for Outcrop – radical Australian poetry of land.

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‘enjambment sisters present’ by Michael Farrell – out now

Michael Farrell - enjambment sisters present cover

On the last day of 2012 Black Rider Press is proud to announce the release of enjambment sisters present, a new chapbook by Michael Farrell.

You can download the e-chapbook for free from the Black Rider Press website.

Farrell’s enjambment sisters present is a brilliant plaything, it is lithe and agile, it turns and twists and jumps across the room, finally falling in a writhing heap on the rug. It contains all the joys and “sounds [of] the nest”. Reading it will put the melody in you. – Matthew Hall

For M. Hall’s full essay, read the Black Rider Lines post

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Black Rider Lines: Matthew Hall on ‘enjambment sisters present’ by Michael Farrell

Michael Farrell - enjambment sisters present coverWhen reading Michael Farrell’s new collection enjambment sisters present, I find myself casting my mind to the work of Pierre Macherey, whose theory of literary production stressed the inherent incompleteness of the text. That, “the book [or the poem] is not self-sufficient, it is necessarily accompanied by a certain absence, without which it would not exist.”

The collection is, itself, a structure of complexity, demonstrative of both growth and decay; it is at once about the acquisition of words, assembling into the joy of the literary, and at the same time about control, contortion, the finite articulation of syllables, its careful dissection. In Farrell’s collection, then, we find a disarticulation, a pensive joy which attends the simplest utterance.

The challenge of the work is to ascertain the disarticulations of meaning, of a language which is heading in two directions at once, trading the polyvocal utterance, which stresses and strains against the limits of language, for a syntax of response, which dynamically gathers in and infolds relations with other elements.

Farrell’s poems are as set on the acquisition of language as on the construct of the domestic.

Oedipus the King, Hoicking (excerpt)

(Oedipus the King, Hoicking)

Which, playing with the notions of containment, punishment and the territorial, of the notion of home for one who argues, in ‘Schopenhauer , Ford’:

Schopenhauer Ford (excerpt)

makes the compossible claim that the lyrical ‘I’, the eyes of the poet, are tied both to the “mouth” as well as to “youth”. That the claims of articulation are tied to the past, to that which might only exist in fragmented utterances, in glimpses, in an uncertain, testing, and experiential wholeness, that allows an apprehension and renewal in retrospect.

The necessary incompleteness of the text means that the reader is a constant in the flux of the collection, a constant brace to its stutter and pulsing language. The forms and patterns break with an unceasing, teasing velocity, to which Farrell’s voice adds a sense of calm lucidity.

The repetitive patterns of ‘Some Enchanted Odding’ and ‘Schopenhauer , Ford’ are reminiscent of Marinetti or Hugo Ball, but the real treasure of Farrell’s work is in casting the world through the eyes of a child. In that, I am reminded of Hejinian’s line: “ I cannot separate lucidity from undressing” which makes a riddle out of a grammatical proposition, characteristic of her work in ‘The Composition of the Cell’.

Farrell’s fantasmic and creative imagining have the whimsy of childhood, “try this donut made out of doll rubber, tarpaper , and seaweed”; “I want to climb ha / lf an a / lpa / ca”; “If I could r / each the star / s”, which strikes me particularly as playing Wittgensteinian language games, to which children render a language malleable, mold it, create with it, stretch it over the world, and hand it back to you. As Gertrude Stein asked in ‘Arthur a Grammar’: “What is the difference between resemblance and grammar. There is none. Grammar is at best an oval ostrich egg and grammar is far better.”

Farrell’s enjambment sisters present is a brilliant plaything, it is lithe and agile, it turns and twists and jumps across the room, finally falling in a writhing heap on the rug. It contains all the joys and “sounds [of] the nest”. Reading it will put the melody in you.

– Matthew Hall

______________________________

enajambment sisters present by Michael Farrell will publish as a free download on Monday 31 December 2012. It is the fourth instalment of the Black Rider presents Lyrics series.

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Coming soon: ‘enjambment sisters present’ by Michael Farrell

Michael Farrell - enjambment sisters present cover

On the last day of 2012, Black Rider Press will publish Michael Farrell’s new chapbook ‘enjambment sisters present’.

This is the fourth instalment of the Black Rider presents Lyrics series. This chapbook will be offered as a free ebook download.

“Farrell’s ‘enjambment sisters present’ is a brilliant plaything, it is lithe and agile, it turns and twists and jumps across the room, finally falling in a writhing heap on the rug. It contains all the joys and “sounds [of] the nest”. Reading it will put the melody in you.” – Matthew Hall

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Corey Wakeling’s forward slash launch speech

Last Thursday forward slash was released into the stratosphere via Melbourne’s 2012 Poetry Symposium – The Political Imagination: Contemporary Postcolonial and Diasporic Poetries. Corey Wakeling’s kindness permanently abounds and he launched this li’l ole journal for us. You can read Corey’s speech below.

We’ll be podcasting the launch as well, which means you’ll be able to listen to Corey’s speech, as well as Michael Farrell and Duncan Hose reading.

Online purchase of forward slash will be available soon. Collected Works also has copies if you’re in Melbourne.

forward slash launch speech by Corey Wakeling

The Queen, Elizabeth II, is glad this journal exists. It is sign after all that the Commonwealth is still wretchedly in effect, the colonies clearly and seamlessly in dialogue across the seemingly impassable thousands of kilometres to the North, and the North to South. “A collage of Australian and Canadian innovation” write editors Jeremy Balius and Matt Hall. It is not by accident that we then release this journal to the post-colonial subject in situ – we are after all in attendance at a conference entitled ‘The Postcolonial Imagination’. Indeed its troubles, its criminality, and its critical heritage, are herein displayed, written by seven of the finest Commonwealth poets. The British Empire has retracted, the imperial gesture disseminated, now rather laid like new broadband into the loam and concrete beneath our feet, working less like a brain now than a lymphatic system attacking satellite infidelities and acute threats.

Little does the Queen know, in all of her enamour of the exuberance and colonial specificity of the curatorship of this journal that the agents chosen by Balius and Hall happened to be double, arch and diabolical mutineers, fiends, cultural extortionists, saboteurs. In postcolonial times a sophisticated poetic of dissemination, probes of hottest imagination, devisers of transformative syntax, are perhaps a great exacerbator of the retraction of empire, methods to instantiate transcultural cross-germination, and better acknowledge the bequest of diasporic, processual traditions of nomadicism and expression under duress that have for so long sustained the fixities of national identity like that of the subject of the Commonwealth.

The postcolonial subject is neither severed from national technologies to which it is under duress, nor is it passive to identity politics in formation, in deviation, in conflict or contradiction to the national. It is compositely colonial and postcolonial. Why can’t you speak about the body and technology exhort Louis Armand, Michael Farrell, Duncan Hose, Kemeny Babineau, a.rawlings, Jay Millar, Astrid Lorange. Why can’t you speak about the body in technology beg Louis Armand, Michael Farrell, Duncan Hose, Kemeny Babineau, a.rawlings, Jay Millar, Astrid Lorange. Why can’t you speak about technology in the body, technology of the body retort Louis Armand, Michael Farrell, Duncan Hose, Kemeny Babineau, a.rawlings, Jay Millar, Astrid Lorange.

As the hypothetical philosophers of language, or the language philosophers of hypothesis, or the hypothetical linguists of philosophy, these poets in particular have an active intervention into landscape and language’s prosthetic eye on it with consequence. Louis Armand writes in ‘“EROSION MIMICS A FRAME”’:  “the sentence “is” a body…” The reciprocity between language and landscape – at once elaboration of the teasing proximity language brings to ambulations and memories of landscape and yet too elaborating the rejection of words by the landscape – produce, frankly, devastating, cosmic, and singular hallucinations in the work of these poets collected. Hallucinations because they are ecstatic, and because they see what they are thinking, and that after all is impossible. These are reliable maps in another sense, however, reliable topographies of place thought, thought indicating its setting as much by its flight and repulsion as its disseminations as probing retina.

Each poet collected appears fascinated with this limina, and if they’re anxious, then they’re performatively so. Just see a.rawlings spreadsheet poem ‘THE GREAT CANADIAN’, with its page saturating refrain: “I will not ruin the environment”. More on that cascade later. For each poet it is not remiss to surmise each poet landlubber of a psychic art turns to the criminality of the topographer-fencer, and makes a riot of his or her former small time. This is big time crime, but for that hardly less true because the landscape is making them do these terrible things. This is Whitman in the woods, but also Whitman in black.

M. Farrell: “George Clooney is walking across the A landscape. He’s what makes it.” ‘INVISIBLE AMERICA’ (10)

D. Hose: “When   did     Tasmania   get    so / German               anyway / Here we are in German Tasmania / Appeldorff,        Little Alp,      hills are randy / w/ tearful horses, / Hohenzollern barns engineer the air to chasten / horny grasses \” ‘LIQUOR’S NOT LIKE THAT’ (3)

a.rawlings: “Descend from a cliff into a forest near a field by a shore on a river that empties into a language.” ‘THE GREAT CANADIAN INJURIES’ (16)

L. Armand: “… crude ore / dark floe from the un/conscious / belies geo-strata not yet raised to perception – / intestinal montage of / red black / fossilised in its veins’ metastasis / becoming sub-specie …” ‘“EROSION MIMICS A FRAME”’(23)

K. Babineau: “Marri Douglas Canoe / rip A Ford Near Moscow // A Delusion of Pat Anderson, 1915-”

A. Lorange: “needle along the edge of a river such a / slab of science emptying itself on the banks” ‘GRUBS’ (36)

And J. Millar’s hallucination, or the truth of the matter: “Foot after foot atmospheric / melodies repair each one / higher than the next, a trail // of geographic outcroppings / & visual stimuli that oppose / news. What sits there remains – / millennial drones of rock // & shoreline collections of / mosquito bites, a pure pure / Canadian tropism entered into / the record books as whims.” ‘GATHERED FOR THE PURPOSE’ (39)

It seems Canadians and Australians have been dreaming the similar dreams, or at least tangoing together under shroud of oneirodynia, the disturbed sleep. Yes, these poems, all of them, are of disturbed sleep – Hose’s post-coital, pre-coital; Farrell at his most O’Hara-esque incubus-like swimming through the dreams of others, for Farrell it is Richard Roxburgh and baby boomers dreaming Hendrix; rawlings ‘The Great Canadian’ a litanical nightmare of the suffocating demands of the intra-festal obsessive compulsive declamation “I will not ruin the environment” turning at once from denial, remorse, fecklessness, pomposity, demand, imprimatur, injunction, thesis, antithesis, synthesis, transition, in the accretion of its stupid inexorability. Indeed, rawlings is the most self-interrogative, and her transformation from ‘SUBJECT’ to wolves in ‘WOLVES’ ENEMIES’, the wolves supplanting the once pathological reiterations of the ‘I’ and words’ clamour on the ‘I’s superficies, this roaming collective of wolf in plural, wolf mapping territory, wolf territorially pissing, the preposition “to” ever turned to verb-like to end on as salve to perimeters of ‘I’, its borders and fields. rawlings explains:

Shown urine from wolf on the to

the wolf or of wolves run.

(18)

But aren’t these poets big personalities too, not just big wolves? I mean, aren’t these poems big architectures? I mean aren’t these poets big ‘I’s? I mean, aren’t these poets big programmes? I mean, aren’t these poems catastrophic erosion, hangovers, lusty pinions, mouthpieces, fears, ruins? Perhaps it isn’t size at all, perhaps sprawl instead, contagiousness! Listen to Matt Hall and Jeremy Balius speak and it’s the maximalism fusillade, which might be better considered part of our poetics. This maximalist turn is delightful in forward slash, performed with dexterity and wit.

Condensation however is certainly not left to the periphery, what Ezra Pound did to the Homeric verse, what Charles Olson did to Ezra Pound doing the Homeric verse, what Duncan Hose did to what Charles Olson did to what Ezra Pound did to the Homeric verse, is part of this weird Commonwealth journal: the turbid juices of something other than style is certainly being condensed here. What Stephane Mallarme did to syntax, what Christopher Brennan did to what Stephane Mallarme did to syntax, what Michael Dransfield did to what Christopher Brennan did to what Stephane Mallarme did to syntax, what Michael Farrell does to what Michael Dransfield did to what Christopher Brennan did to what Stephane Mallarme did to syntax, is demonstrated here as part of the syntax elaboration in contemporary poetics, questions of syntactic transfiguration, interrogation, extenuation – this is entirely traditional and rabidly deterritorialising (what Farrell might call un-settling).Precision, the diamond tip of the probe: this certainly is the horizon here in the pages of an undeniably perky journal.

Jay Millar is the most cautious, and that is why he appears the most serene and delicately pensive. Duncan Hose’s agents are bleeding, goosing the temple bell; and he has had his “cup of the coward’s bouillon”. Faire du skeptique, to the sceptical, he writes: “I keep finding pearls”. Has a geologist ever found so much movement in the earth, and yet simultaneously been as conscious of the uncertainty principle, as Louis Armand? His work does not demystify the processes of geological formation nor the body’s reliance on them, rather his findings are drawn up by the ghosts of illegibility and the mirages of articulate palimpsests. Armand is the most foreshadowing of his prosthetic I/eye, Astrid Lorange the least: she is the eyeball disturbed and unsocketed, roaming wildly pontificating rather on the ear. She says:

private celebrations

of speaking (not at all like fasting)

with diagrams

full-bodied and fruit

thud missiles

rattling into the ear

making each

the first available name                                               (34-5)

And it is this, the “first available name” that Kemeny Babineau versifies and sends rustling through the capitals, proper nouns, of history as towns and towns as historical human beings, “Saul, ‘The stars are glittering in the sky’ / 1818 ‘O! Come / in the Orilia Woods // Mair Tecumseh / Lanigan Threnody / Isabella The Helot” (27). Yes the locale is but a cut-up of old Canada, and yet my boots are wet and muddy, and somehow Flanders Field got on them, John McCrae’s old war threne somewhere within “The Pomegranate Mouths / Drunk on Crutches”. Unbelievable!

I would like to propose to launch forward slash, but then to me it appears it has launched itself, perhaps one of the most exciting new poetry journals since Vlak.

Instead, may it live long.

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forward slash launch in Melbourne

forward slash will be launched by Corey Wakeling and will feature readings by contributors Michael Farrell and Duncan Hose. The launch is part of The Poetry Symposium 2012, this year titled The Political Imagination: Contemporary Postcolonial and Diasporic Poetries.

The Political Imagination is a symposium that brings together some of Australia’s leading poets and poetry scholars to investigate the state of contemporary postcolonial and diasporic poetries. It aims to explore the contentious, at times controversial, issues surrounding the production and discussion of poetry and poetics in work that engages with the politics of the postcolonial, the transnational and the diasporic.

Edited by Matthew Hall and Jeremy Balius, the first edition features:

Duncan Hose
Michael Farrell
a.rawlings
Louis Armand
Kemeny Babineau
Astrid Lorange
Jay MillAr

“In showcasing seven of the most exciting writers either side of the Pacific, this collection demonstrates just how strikingly resonant Australian and Canadian contemporary poetries are in challenging pretexts of language, nation, and the interior.  Here we have undressed affect, meddlesome crossings of intimate and ideological landscapes, and ebullient spurs against aesthetic and political complacency.  It is, in short, redactive iridescence.” – Ann Vickery

Volumes of forward slash will be available for purchase at the event for 10 smackers.

Thanks to Ann, Ali, Lyn and Corey for making this happen.

When: 4:30pm, Thursday 12 April 2012
Where: Deakin Prime, Level 3, 550 Bourke Street, Melbourne

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