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BLAZEVOX[BOOKS]
Buffalo, New York
A Lyrebird:
Selected Poems of Michael Farrell
by Michael Farrell; Editor Jared Schickling
Copyright 2017
First Edition
ISBN: 978-1-60964-280-8
Library of Congress Control Number: 2017931718
BlazeVOX [books]
131 Euclid Ave
Kenmore, NY 14217
Editor@blazevox.org
BlazeVOX [ books ]
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Acknowledgements
16-26 from ode ode. Salt Modern Poets Series, 2002. UK.
28-48 from a raiders guide. Giramondo Poets, 2008. Australia.
50-56 from thempark. BookThug, 2010. Canada.
58-62 from thou sand. Tinfish Press Retro Series, 2011. USA.
64-72 from enjambment sisters present. Black Rider Press Lyrics, 2012.
Australia.
74-98 from open sesame. Giramondo Poets, 2012. Australia.
100-106 from same! same! same! same! SUS, 2014. Australia.
108-114 from the thorn with the boy in its side. Oystercatcher Press, 2014. UK.
116-134 from Cockys Joy. Giramondo Poets, 2015. Australia.
136-152 roughly proofed. Sippy Cup, 2015. Australia.
154-160 from I Love Poetry. Unpublished manuscript.
A Lyrebird appeared in Southerly, 2013. Australia.
Into A Bar appeared in Westerly, 2015. Australia.
Contents
Michael Farrellnot to be confused with the Buffalo native and author of Running
with Buffalo, not the University at Buffalo sociology professor nor the area
chiropractor, nor any other Michael Farrell that we know ofis a contemporary
poet born in Bombala, Australia, in the Monaro region of New South Wales. I must
have come to Michaels poetry while editing eccolinguistics, a tiny zine of stapled
paper that shipped internationally. It was, in any case, the poems, and I would have
the good fortune of meeting him a couple years later, during his time here for a
reading at the Western New York Book Arts Center, on a chilly night nestled snugly
under the Just Buffalo Literary Center in the heart of downtown Buffalo. It seems
some students in the UB Poetics Program had advocated for his visit while he was in
Los Angeles and were obliged. Michael has visited the US on one occasion since
then, for Active Aesthetics: Contemporary Australian Poetry Conference, organized
by Lyn Heijinian and Eric Falci, which brought thirty-three Australian poets to
Berkeley in April of 2016 and produced an anthology edited by Daniel Benjamin
and Claire Maree Stancek (Tuumba and Giramondo, 2016). That trip included
performances in Seattle.
Bombala is halfway between Sydney and Melbourne, in the southeast corner of the
continent. Though it never materialized, in 1903 King OMalley imagined the area as
the parliamentary seat of Australia. In 2012, around the time I was discovering these
poems, the population of Bombala was 1,200 souls, whose name apparently derives
from an Aboriginal word meaning meeting of the waters. Situated on the banks of
the Bombala River, between the Monaro Tablelands to the west and the slow
descent to the South Pacific coast in the east, its principal industries are sheep
grazing and timber, and it is known for its population of platypus. Farrell moved to
Melbourne in 1990, where he still lives, and for all the adventurous experimentalism
infusing his work, the poems reflect a cosmopolitan sensibility that is truly of the
world, inhabiting multiple locales and values, Australian and not. His linguistic play
is sensual, centered in the porous and migratory experience of animals and myths
and household products on global scales.
There is no need to justify this volume, whose qualities Id rather leave to the
readers discernment. Theres no use cataloging the fact that, from all we can tell,
Michael Farrell is a shining star among contemporary Australian poets, with three
books published in the highly regarded Giramondo Poets series. His humor, biting
wit and empathetic politics, knowledge of an international avant-garde and
engagement with the gay body and identity should ingratiate the work to an
American audience whose poets are deeply invested in something similar. After all,
Australian and US poetics haved already enjoyed fruitful transnational and cross-
cultural exchanges. James Tulip describes in a 1986 issue of the Australasian Journal
of American Studies how, since the 1960s, Australian poets have increasingly turned
away from England and Europe to American models for inspiration, challenge and
competition, sending conference and residency invitations to their radical
cousins here. David McCooey writes in his entry for the Oxford Research
Encyclopedia of Literature, The Public Life of Contemporary Australian Poetry, of
the discourse of decline Australian poetics shares with other Anglophone nations.
Pam Browns claim in 2005 that central to contemporary Austrialian poetry is the
work of a poet who did not exist, referring to the anti-modernist hoax poems from
the 1940s of invented author Ern Malley, reflects the cultural zeitgeist over
authorship that affects literary discourse here. Flagship Poetry published an
Australian poets issue a month after the Active Aesthetics conference, edited by
Robert Adamson, while 2016 also marked the twenty-year anniversary of a double
issue of Poetry devoted to the same, edited by John Kinsella. It seems like only
yesterday that the University of Pennsylvania acquired John Tranters Jacket.
A note on the table of contents and how the body of work is or is not represented,
however, does seem necessary. Each chapter title comes from a line or title in one of
Michaels poems. Not all lines are complete and some ignore enjambment, and I
have adjusted punctuation and capitalization where typography, extracted from
context and a significant part of the poems makeup, got in the way of an elegant
frontispiece. I chose them at random, even haphazardly. roughly proofed and i
love poetry (i.e. I Love Poetry, an unpublished volume of new work) correspond
to the titles of the books from which those poems are culled (roughly proofed appears
in full). Otherwise, except for one, no chapter title is taken from a poem in that
chapter. They refer to lines or titles from poems in other chapters.
Each chapter is a selection from a unique book. They situate the poetry in
chronological order according to year of publication in book form. In selecting
poems I proceeded from front cover to back without rearranging their order of
appearance. Therefore any arc across this book is not of my making, even if some of
the weave is. Two books, BREAK ME OUCH (3 Deep Publishing, 2006) and Long Dull
Poem (STALE OBJECTS dePRESS, 2014), are not represented here, and neither is
any of the poets critical writing.
Lastly, though I dont think this selectionan act of deletion and transformation, to
be sureis necessarily representative of the poets oeuvre, my hope is that it serves
as an invitation and enticement to further reading and discovery of an essential
English-language poet emerging from a lively Australian poetry scene. To that end,
I would like to thank Michael Farrell, Geoffrey Gatza and BlazeVOX for making this
contribution to the American poetic milieu a reality.
JS
Lockport, NY
January, 2017
breaking hearts on the beach
news from the erstwhile
51
former detainees take gold
52
& weetbix. some old lifestyler keeps smiling at them.
the ambiguity their english had flourished, against all
odds the odds against poetry but taken by
surprise by their future hungry winner feelings.
53
nephews
54
cold turkey
55
youve shaved
56