Show Summary Details

Page of

 PRINTED FROM the OXFORD RESEARCH ENCYCLOPEDIA, LITERATURE (literature.oxfordre.com). (c) Oxford University Press USA, 2016. All Rights Reserved. Personal use only; commercial use is strictly prohibited. Please see applicable Privacy Policy and Legal Notice (for details see Privacy Policy).

date: 30 April 2017

The Public Life of Contemporary Australian Poetry

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Literature. Please check back later for the full article.

We live, allegedly, in a “post-poetic” age. Over the last two decades, complaints about the status of poetry, and the parlous state of poetry publishing, have been commonplace in Australia and other Anglophone nations. Concomitant with this “discourse of decline” (a transnational discourse with a surprisingly long history) is a “discourse of return,” in which poetry is presented as returning to public culture (often through the literalized voice of the poet) to reoccupy the place it putatively held in earlier, if not pre-modern, times. But poetry’s engagement with public themes and the public use of poetry continue to be important, if sometimes overlooked, elements of Australian literary culture. Indeed, despite its apparent marginality, contemporary poetry could be said to have an ambiguous vitality in public life. While other forms of media continue to dominate public culture, poetry nevertheless remains public, in part by occupying or being occupied by those other forms of media. In other words, contemporary poetry’s ambiguously vital presence in public culture can be seen in the ways it figures in extra-poetic contexts. Such contexts are manifold. For instance, poetry and the figure of the poet are mobilized as tropes in other media such as films and novels; poetry is used as a form of public/political speech to articulate crisis and loss (such as at annual Anzac ceremonies); and it is used in everyday rituals such as weddings and funerals. Public culture, as this list suggests, is haunted by the marginal discourse of poetry.

In addition, poetry’s traditional function of commenting on the body politic and current political debates continues, regardless of the size of the medium’s putative audience. Recent poetry on the so-called “War on Terror,” the Stolen Generation, and asylum seekers illustrates this. But contemporary Australian poetry engages in public life in ways other than the the matization of current public events. Poets such as Jennifer Maiden, John Forbes, and J. S. Harry exemplify a group of poets who figure themselves as public poets in a self-consciously ironic fashion; acknowledging poetry’s marginality, they nevertheless write poetry as if it had or might have an extra-poetic efficacy.