Background
The Book of Falling intervenes in three areas of concern: life writing (poetic autofiction and biofiction), climate-change literature (ecopoetics), and poetic forms of intermedia. The first field, despite developments in scholarship concerning poetic biography (such as that by Jessica Wilkinson), remains largely concerned with prose fiction and nonfiction. In contrast, ecopoetics and intermedia studies have strong scholarly associations with the lyric mode, but as such the theory and practice of intermedial poetry and ecopoetry risk the problems of routinisation.
Contribution
The Book of Falling is a full-length poetry collection that innovates in formal and thematic ways. Its sophisticated use of found and original photographs by the author in three ‘photopoems’ offers a formal evolution in intermedial poetry practice. Its autofictions and biofictions reconceptualises life-writing practices vis-a-vis poetry, and the collection’s engagement with ecopoetics offers new elegiac and satirical formulations to the contemporary moment. The thematic unity of the work (with its employment of the multiplex ‘fall’ myth and trope) offers new ways to conceptualise the poetry collection as a unified unit.
Significance
The publisher of The Book of Falling (Upswell) has quickly established itself as a major literary publisher of national standing (with its titles being shortlisted for major awards etc). The collection’s significance is also evidenced through reviews by senior poet-critics (such as John Kinsella) in mainstream outlets (such as The Saturday Paper). It was named as a ‘standout title’ to look out for in the Sydney Morning Herald, and received endorsements from figures such as the prize-winning Andrew Ford. The poems in the collection were previously published in major national and international literary journals and anthologies, a proxy for peer-review.