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The Public Life of Contemporary Australian Poetry
chapterposted on 2018-09-01, 00:00 authored by David MccooeyDavid Mccooey
Since the late 1990s, 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 premodern, times. 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 what may be called 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 thematization of current public events. Poets such as Jennifer Maiden, John Forbes, and J. S. Harry exemplify a group of poets who have figured themselves as public poets in a self-consciously ironic fashion; acknowledging poetry’s marginality, they nevertheless write poetry as if it had or may have an extra-poetic efficacy.