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 176 A Wonnn,s Voice
writing and there's a great area of interest in that, almost as a
rejection of the anti-poetic.
I became aware of being anti-poetic basically because I was
trying to disrupt the poetic. It's not because of feminism. I was
writing before I was a feminist for a start; many other women
were. And then once you became a feminist what occurred
then was that whole uprising of confessional writing and
self-discovery. It was important then and I did a bit of it. gut t
always did it with an intellectual eye on what I was doing. I
wasn't trying to constnrct the self. or constmct myself as a
feminist personality or as a woman. krt of the influence of the
movement was to tell these things, to say these things, to have
these positions about relationships and about society as a
feminist. The anti-poetic staace actually rejects a lot of that.
That sort of self-expression. I dont think I did it for long, but
you can see it in the early poems of the seventies what
was going on! But I was never interested in notions- that,s
of ,.only
women bleed". I knew that and t tfuerrght it was important tt
say. I aQtually used to think that menstmal poems were hilari-
ous. Menstruation poetry! ... [laughter].
what do you meon by menstnrution poetry Iinguistic
fluiditya "flowingfrom the body,, t1rye of thing?-
No, I mean literally. In the seventies when women poets
were starting to really publish and write and read a lot, many
women literally wrote poems about their periods ...
[laughter]
... the pain and the angst. Not to say that isn t important to tell,
it is women's e4perience, but there's en intellectual component
in poetry as well as a telling.
when you storted to vwite, did you write in a traditionol
foru, and then become ress s&u chred, or were you olways
anti-poetic?
No, I didn't start that way because I started to write when I
was a teenqger. My story's the same as anyone's. That,s where
one's story doesn't really matter. The first kind of poetry I wrote
was influenced by |udith 14hight when I was at scfuool. I copied
Pameh Brown 177
her poem "Bullocky", which I now consider one of her worst
poems and she probably does too. But as a kid at school, I found
it interesting. And then I read "South of My Days" and saw that
it moves on technicdly and that influenced me. But I iust wrote
the sarne as anyone
- turgid adolescent rot, really. It was
always free verse, blank, I never did the rhpring stuff.
Soare would argue thot you need to start out with the
rhyning stuff, beforc you can become wrstructwed,
No, I wouldnt agree with that. Fhee verse is the norm of the
twentieth century. All you need when you're starting out is to
be a reader and pick your favourites and try to emulate them
or be influenced by them.
Other than ludith Vlhight who wene those favourites ond
influences?
\Alhen I was really young I was influenced by TS Eliot
- of
course, everyone was. That was outside the school curriculum;
I didn't like much of what we read at school. When I was a
teenager I was quite lucky because I fell in with some Commu-
nists rcal Communists I mean, not fictional ones. A friend
-
of mine was the daughter of the Secretary of the Communist
Party in Brisbane. In a way that led me into other kinds of
ruriting. I remember reading Vladimir Mayakovsky as a teen-
ager, which I found really exciting. And I read novels. I suppose
the influences would have been Ilya Ehrenberg; and Oscar
\rVilde was really important to me. But I cadt remember, it's so
long ago, I was a teenager thirty years ago! ... flaughter].
How did they influence you? ll&rs it ideology? Or stylistic
aspects?
With Mayakovski it was a bit of both his ideolory and his
-
excitement to do with the Russian Revolution
- and his
poems. They were so minimal: 'A Cloud in Trousers" arld
things like that style, that sparse minimalism. I didn't go
- thewas
to university, which great actually, because I would have
had to go through a lot of English poety that I wouldnt have
Iiked, in those days. I then discovered the Beats, only about a
 178 A Wonan,s Voice
Pameh Brown 179

decade after they had started to publish. My generation

and my as any child born in 1948 and growing up in the post-war years
friends were quite politicised as teenagers. it *",
the time of with all the disappointments and all the aspirations that fairly
the vietnam war. Also living in Brisbane there was
an aurful ordinary fa:rrilies have. Except, I will tell you this: my family
lot of subterfuge to get up to up there. we were always
inter- was a military family and I grew up on army bases and I do
ested in what became known as the counter curfure.
think that most people who write have in some way a tiny little
What wcrs your childhood like? secret or escapist thing that they did. It wasnlt conscious. You
Are you serious? ... can I say something that I hope you didn't think: I'Il be a poet. You didn't even know what a poet
will "

was. I dont think it's that special, that's all. And I dont think
include in the interview. Thatis, I,m not i"r, fond
of the idea
of being "a personality". In fact, I shouldn t rlafly it will help anyone to tell you more than that ... fiaughter].
u" aoi"sii"
interview for that reason. I'm opposed to that self-promotfnal
idea. You say that you didn't have o sense of yourcelf as a writer
or a poet. How does it happen then?
Perhaps we should caII this uthe utti-intenziew,, As usual and asain I think this is a very ordinary thing
...
hobably it is ... [laughter]. But I guess people want to -
at high school I had a great E.glish teacher. It's as simple as
-
know.
How voyeuristic does it have to be? \Alhy do they want that. And also the Communists. On Saturday arvos we used to
to know
about my childhood? visit the home of Ted Bacon, a historian. He had discussion
gxoups for kids and he would say: I'll tell you the history of the
when I interuiewed Dorcthy Hewett (one of my
uiews) I said that I wufied to ask her abiut the lirst inter- wheel from the caveman to General Motors Holden. So he
autobio_ would oElain capitalism. I guess it would be thought that he
gaphicg aspect of h* witing, not about her life, ,Lnd
she was brainwashing us, or indoctrinating us, with terrible ideol-
said: "that's atelief!" Evetyone seemedoDsessed
withfud- ory. My parents certainly thought so. But I would also always
ing out more about her and confrating lthe ,,1,, in
her piems go away from his home with a book. Things like lGthe Krill-
with the authon so I owided doins tirt. I,m not interested
witz's drawings. They seemed to me incredibly cultured peo-
in voyeufism. I have justfound thaias rprcgrrss ed with
the ple, and they were. I was introduced to lots of ways of thinking
intemiews people have totked obout ih"r, perconal
lives and that more sociological input gave my brain something to
and how perhaps childhood panents, fonilies, forutative
have produced-thi poet.
- do.
influences
-
well, I think it does. But my experience is probably
similar Did you leel any boniers to becoming a poet when you wene
to many people of my generation: I didn t have an yowg poety being a mqsculine pnovenance?
ideal child-
hood, I had an itinerant childhood, I didn t live
with my family -
I dont think so at that stage. I was pretty bored by most
for years. My mother contracted tuberculosis and was
placei things in my education apart from f,nglish and writing, and
in a sanatorium. My father went overseas. My brother
were sent to our maternal grandpalents, and I lived
and sister
with a
also Fhench
- anything to do with language. I wasnt aware
that I was being a young woman poet; I could iust write. I
great-aunt from the age of eighteen months
until I was seven. wished I could paint, or be a musician. But with writing, I could
I had an unhappy childhood, io a way, not in a terribre, do it. I was often told how terrible and uncooperative and what
sensational, televised way. Like, I wouldnt get
on ,,60 Min- a terrible rebel I was, but also: 'Will do well with her ability
utes"! ... [augh] ... it wasn't fftaf bad. But it i", it convinced me. It was
disrupted with f,nglisfu". And it was tnre
", -
 180 A Woman's Voice Pamela Brown 181

obvious. I guess I always had confidence as a writer (which I in that way. It's got this long history of movements, positions
philosophy,
certainly don t have now) ... a sort of rebellious confidence ... and ideas that will never agree. Also, probably like
not to success, but just that it was OK to do things, or to do it has that kind of function in the culture'
what I wanted to do. I also always knew that you had to earn
your living. I never thought of it totally romantically. I don't How do you defne Postutodernism?
think! Perhaps I did occasionally. Postmodernism is something that occurred probably from
To get back to thequestion about being a woman poet. If you about 1950 on. Ifs a post-war thing. It's post-Modernism,
consider |ohn Thanter's "Genbration of 68" (which I think of as which still exists of course. Postmodernist writers take a posi-
a mythical thing that he invented), I think my generation was tion outside mainstream culture, critically outside it, and are
engaged in opposing centralist ideas of linearity and
authority
the generation of og. we were involved in all sorts of counter with degree of
linearity says it alt really. Ifs also to do a
culture events
-theatre,
music, political discussions. we were -experimentation, a practice of trying to disrupt those solid
that generation, not constructed later in an anthology as a
generation. I think that influenced me towards becoming a centrist things of order. It occurred with the advent of huge
technological change video, TV media changes. There's no
woman writer, or being a feminist. Because we lived it; we did - a world
more TS Eliot's waiteland! There's all this spaceiunk,
it. The "Generation of 68" that )ohn was talking about had it's here. People who
of so much information, at such speed. so,
magazines and hierarchical stmctures and committees where ... silly. Our
live in it and say they are not postmodern are
all &e girlfriends were the treasurers and the secretaries. They
whole way of seeing things has changed because of it. So we
were already forming those administrative power bases. I
are postmodern whether we Iike it or not. There is
a reaction
wasnlt evea aware of them at the time. I wasnt interested in who wanting to return
against it, of course. All those poets are
things likei noeqy Austahia. My friends and I were making new
to forsralism. Ifs happening in America and here
-
sculpture at The Yellow House and having Dadaist film eve- formalism. The other tUi"S about it is that there is an element
of play and game in it and that's all right. You dont
nings in our lounge roons; we were actually living dl that. And have to be
I was a poet and others were other things. And the politics were po*plo, anld elevated and completely serious about what you
endlessly discussed. are doing.
I think that |ohns "Generation of 68" is where Australian
postmodernism began. ADd I would welcome that. I certainly And at a txtuallevel or lingaistic level, postmoderniszr is
like a lot of those writers and their works erTrresse d tlrough the non-capitatising of wotds
and reflex'
Laurie Duggan,
John Forbes I guess he made it in). John was
- just conveniently ivity Poems about twiting PoeW?
setting up this little column of power. Arrd there would be
-
Yes, that's part of it. The other thing that a number of people
another one that was opposed to it. But poetry has always been do is to introduce the real names of people, and not
fictionalise
like that. in a heroic way. The person who named that was Fhank o'Hara
It's a highly literary thing that |obn was doing with that (partly in his manifesto called "Personism". Thatwas
as a ioke)
anthologr; trying to make a statement. That's fine. It,s one of in 1959; ifs nearly forty years ago that these things happened'
the things that poetry has dways had they're not new. ue uaa tnis revelation that he could use the
menners and styles, mutually different, - traditions of various
but irreconcilable. telephone rather than write a poem. Befor-e this he was
using
- his poetry to communicate; to say, this happened and that
That's healthy. IGn Bolton said poetry is a bit like philosophy
 182 A Womanrs Voice
Pamela Brown lO3
happened. Hc was agreat gossip,
and riked to tark on the phone.
It was caled: I do this, Ilo Do you tltilr1" this lack of confidence thing is to do with
you can sneak up on people and
d:,, r;rt;i;I".o.rt,s risht, yet women' and that generolly men ore mone confident about
introduce more serious, even
sinister, observatioor *d ideas. you what they crcate?
can do those thiags much
more quietry, rather than writing: .w" the end of the
Possibly. I've always had this little theory about male poets.
Cenfury,, tlpe poem, or ,,f will
sa! "rL "t
g** poet, etc,, ... For a long time I used to wonder why theywere so competitive;
", " why they were so distressed when someone won a prize. I
How does the "r" relote to the notion
conflate with the poet? I notice
of ftersoniwt,,l doesit don't think it's iust that old biological thing. I think it is that
sively:
n"iyklrJ, ,,1,,
quite erten- really to be a poet and male when you are supposed to be an
engineer or a baker you're supposed to earn money and do
well, it's not onry arways "r". rt's not
riterar. I went through
-
these masculine, conquering things in the workforce to end
a stage where I started to use.,you,,to talk about
myserf. In the up a poet is a very fragile thing for a bloke. So they do - blokey
last decade I've become uninterested
in serf-ocpression. you stuff and are incredibly competitive with each other. Because
hoy writing poehy is realry boring; I suppose redly they should be engineers. They would probably be
everyone,s tord
you that ...
called sissies or wusses. For a boy to go off in a corner and read
a poem I'd probably like that kid it would be a fairly
No! Thefvesardit,s hoil work! -
private thiog that he was doing, while - but
he failed at cricket or
It's a Ail I want to say is that I,m not interested
task!
in sayi,g: baseball ...
really me; I'm reallywritiag this. yo,,
F _fu
"You"'arrd it doesn t have tL
or" the ,,f,,
or the
I think actualry makiag poems
u" utr;"uy t;; a digression _ You said in a recent intenriew that "poetty is close to popu-
thi* about it, that's -nypuopre have
is fun *i iotrr.r.'ng, but if you lar culhue".! I lgnow what you meorn by that, yet itsounds
to uu"o*, .,aperson.Iity, poradoxical in that people oten? rcading poetry, it isn?
because actuar! writing'isoi u that great.
Doing interviews popular ...
isut that great either. ltt oi"u to do
it,-but the actual work, if No, oh no, I didn't mearl it that way. What I meant was that
you think about it, is just sitting
there, at the desk, by yourserf,
shaping this th;ng, i*y, *oirar"i"g it's not part of popular culture, but it's /rke popular culture. It's
*U-rtU", it,s any good like the speed of imagery that you have in rock videos, small
(and I ne,er think *ytui"g anygooaj.
is t aon't think I m doing
this rearv wondertuirni"i r animations, advertisements. Not so much footy, that,s popular
b: so there you
are with your lack of .oofid"o." "riiri aII-b;
""i"*u],. culture, but I'm talking about artistic crrlture rather than that.
pg
will I write one today? It's a difficurt
yJurrru thiuking: condensation of imagery quickly absorbed, and you can leave
thing, I don t think it,s hard
but it's pretty dull,
fretty tedious ... it and move off onto something else in the same way you can
flick around your channels on TV you can channel-surf and
That saems totally consisfen t with you can poetry-surf. so I meant more - in its method than being
what you have been
saying. If you believed in the perfect part of it. I remember when I said that. I thought that too, I
would [oraw you had r;reoted it
ugh:*t object, you
... thougbt people would think I was tryrng to be "cool,,. I wasn t,
You're right. I'd feer compretery I just think it actually is like it, not part of it, because I am very
runatic if I actua[y thought
I was having some sort of t *r""odent awre that very few people read poetry.
*.p"ri"oce ... [raughJ.
 lU AWomanrs Voie Pamela Brown 185

IGvin Brcphy, who obviously hos a high regard

for your
work, saidin rris reuiewolNew and selected poerns that it
It seems to me from talking to poets that there is vety often

was fuII of complaints,Z your poetry does seem to

refrect a
fairly pessimistic view of the iorld, but there is ols; o hint
of optimism. In "This World,r, for instottce *This world,
-
this world, this world is shill weep uway, say the angels,
gold comes from shit.r' ... ' v
well, there are two things about that. The alchemical idea
that from the shit the base metal gold is produced. And if you
use alchemy as a metaphor, then from the crap great things
are
made. That was always the alchemist,s main pursuit to
make
from this rubbish a thiog of beauty and substance. Actually
after I had written that poem I saw an article in the o"*rp"pJ,
which read "sitting on a pot of Gold. Academic says: *or" gota
in sewers than in many mines". I4/hen he peered into the
sewers this professor literally found, not .,rivers of stinking
sludge", but "gold just waiting to be mined,,. so it,s literalf
happening. And I always thought that alchemy was not a real
science-
But fes, I certainly find the worrd pretty depressing. It hasn
t nature to me, to be investigating.
been a good place in the last decaae probr.urv never has been
-
the acceleration of capitalism and the fall of the Eastern
-with
Bloc and all the various
probrems associated with that. If you
just look at the diseases we have
ever5rthing that has hap-
pened in the last tweuty years. It's -a mess and iishould
ue saia
that it is, but not despairingty, no matter how depressed
one is.
can poetryfinction as a conscience? Does it work that
',,cial
way?
Im sure it does. But I've never liked poetry that sort of
normative poetry that has a therapeutic goal. I don t think
that
poets have any knowledge that's any more special
than anyone
else on earth. They just happen to write it in this weiri
old
fo-r* that hardly anyone pays any attention to. so in that way
it': " liberating place to be because you can do what you like.
I dont know that that's its function really. I dont set out to do
that at all.
a compulsion to write, a necessity
it like that for you? - alnost on affliction. Is
Most people who have been writing and publishing for as
long as I have (and there arc many of us), I think by now we
iust do it. I imagine that everyone else is also reading each
other, and other things, and being influenced and changed. It
would be dreadful to produce the same kind of writing all your
life. Imagine that. You do it because it's like your job
sounds heroic, it's not like your iob
- no, that
it's just something you
-
do. Initially, I used to think there wErs a compulsion involved,
that I was compelled somehow to do thiq. It's a ludicrous thing
to do there's not much readership; it's an odd thing, people
-
don t get it; they expect a lot more from what you're doing; they
think poetry's difficult. It's a very strange thing to decide to do.
But when you look around so are lots of other mental activities.
I find philosophy even weirder, so I'm glad they are there. they
don't even have the interaction that poets have. But nowl just
do it whenever it is possible. I dont do it daily. It's second
Could we talk a little about the ueative process, How does
the prem evolve do you have an idea, or is it to do with
-
on experience or cm object? And then what do you do with
that, rwite it down or let it stew for a while?
I have notebooks where I usudly write down little things
a few lines that occur. I don't actudly carry a notebook around
-
with me and think Oh, I'U stop and write that down. I dont
know how they occur, but they do
- it's usudly at home
actually and I'll iust iot them down. I'm usually working on
something else and meanwhile there's this build-up of all these
... I call them little squat combinations ... flaughter] and they
are just buildin g up and fl oating around in the notebook. If ever
I have a big idea, which I do sometimes, and I write it down,
and I might write a list to do with it, I nwer usually follow it
through. A big idea is usually seen as too grandiose, I can't
describe it ... but if I have a big conceptual idea ... I've tried a
 186 A Wonanrs Voice
couple of times but it just becomes reallyforced and laboured.
so I just work from little floating notes. or it may be something
ludicrous that you have read in the paper, not so much some-
thiug someone has said any more
I used to do that, but not
so much now. krhaps people- are getting less witty ...
fiaughter].
The %ig ideo" is interesting. In her intentiew, ludittt
Beveridge talked abovt how she canft stort with an idia, but
with kttle insigtficant tfrings. sfte said; ,,lftnd stwting with
an idea j,,st too dawfiing. I meanr, how do I shape oi ru",
poetically?"
_ I9ll, some people do. But my process is probably similar to
Judith's. You just build it up, scratch around. Andyou certainly
don t keep everything!
In your intewiewlbr Aushalian Book Review you say that
the more recent poems represent a .hrove towards a vocabu-
lar5r. once we had ideas and then hied to find the vocabulary.
Now Im more interested in the vocabulary and finding,the
ideas to fit that'. could you talk a bit about what that *""ort
l,vhat I was saylng I shouldnt have said then, because it is
more what I'm doing now. There's not so much of it in my last
book.
There may be a word that I'm interested in because it sounds
very sfpango. Fbr instance, I might stop in the middle of a poem
and say "Nevetthe/ess is a very strange word,, tuings tike
that. It draws attention and breals the poem, -
sving the reader
a little moment to perhaps reflect before they move on.
or it
mrght be something like "sucking a nettle loietge,,. or .,stink-
ing pufly fungus". There's no idea in that much at all, but
it,s
the vocabulary, I love that.
Is it
akin to hoilca and thesenses?
No, it's much more to do with abstraction. But it,s not quite
abstract. It's more-like painting really. I like to use ,""lty
"
interesting word that is slightry difficult in a non-difficuit
context just to see what it does. There,s one there about
Pamela Brown 187
"proleptic vision''. Normdly I would have thought that that
kind of language was pompous, alld it can be used that way,
but I'm becoming interested in dropping difficult words.
Rather like if you were paiating and thinking: I wonder what
that slash of green might do? That sort of thing.
You do that in "ThisWorld" with the word "couvade', which
sent lGvin Brcphy off to tfre Concise Odord when he wos
rcviewing the book ...
Yes, I remember reading that review and thinking what on
earth is IGvin on about. He was raving on about a hospital, sick
people ... And l fterrght that's great!
He interpreted it as the monhaving apsychosomatic illness
when his wife is pregnant ...
That's the way it's used contemporarily. But I meant it more
as in tribal culture where a couvade is when someone is dying
(and it doesn't have to be a male or a female) and another person
will go through the death for them, figuratively or ritualisti-
cally. What I meant was "Everyone desires a small couvade";
they dont really have to do this, someone else will do it for
them. In a waylGvin was onto it and I found all that imputation
of his quite interesting, I didn't dislike it, but I thought: Um ...
is this my book ... did I write this?
Youhave writtenelevenbooks of poetr-y: l4lhat sort of critieal
reception has yout wo* had over the many years of
pubkcation?
There isn't much. there used to be, up until about seven
years ago. lAlhen IGep It Quiet came out, it all literally went
quiet! So there's not much to say . . . [augh]. l4lhat did you want
to know?
One ospect of these intenrier,rr ftos heen the opportwityfor
the poet to tqlk back and a lot of poets have enjoyed having
theb say because very often the rcadings and criticol rc-
 188 A Wonnnrs Voice
Pamela Brown tilg
uiews are quite etrtraordinory and
interestittg. But accept- been doing recently I thought I had been pushing it a bit,
able' becouse every perr;on reads a poem
rn , drff"rent way. abstracting a little bit too much. I'm not really happy with it.
well, that can happen. But when I was reviewed
I was never So I'm taking a bit of a step back. I used to woryr about that; I
mortified by anything that was said. The
other thing used to think that it wrs a block or somerhing, but now if I don t
reviewing is that with &e saturday papers
r dont mind "ur"t
at all have anything to say or I don t like what I'm saying, it's quite
not being in there. of course, ri"a
]ou ii odd. I,ll be quite frank a relief to have the grace to shut up. what I'm doing is what
I wouldn t want to be revidgd
-at the in the sydney Moming HeruId
rnoment. It's very superficial. It,s I've been talking about: a lot more of the game of abshaction.
rurr*" for a big city But it's never abstract or unintelligible. And I suppose less
like this that our- dqti paper doesn't have " a proper poetry about what's wrong with ever5rthing ... [laugh] ...
review column. I think itis quite good
to be t"m"a about in the
lmall magazines. some reviews are coming up in overland asd, So, you've stopped being "the ldnd of poet/who is an ant/in
Meanjin, but they're ]ate. Risht now I,a society's atzrtpit"?
,IthL have my work
discussed in there, than in the syaory oh, no, I think you can still make poems that are little ants
uorrirg Hemld. At-
though, unfortrlSatery tle peopre who in arurpits just simply in the form that you choose. The style
,L*tuL papers do what
they're told and buy the uoitsl rhe that you use is as much an ant in an armpit as what you say.
maio"iiy ortn" peopre who
read the book pages buy what they I'd certainly be an ant in a formalist's arrrpit or a lyrical poeis
read
"ULri. armpit these days. I would hope! And they are ants in mine. I
!es,- mony women have corrrmented that th.y wouldnt meen, th"y irritate me. But that's what's interesting about
bother sending their poems to newspapers poetry as I was sayrng right at the beginning, those things will
eitlrer: But.of
course then you dont get eryrosed to
reodqrsftip.
i ii greral, public never reconcile, which is why it is such an interesting and
innovative scene.
No, I dont send poems to newspapers.
It's a popurist media Sydney
and-1f ro_u've got a nice topicar
tittL pr"; oo, ,o deride that October 1994
at all but if you've gottne about-santa-claus
-
that's ironic,
at christmas
it wil be pubrished. That u"iog, up another
topic. There,st:lthis idea, ,od it,s been Notes
poetry should
*r""Jilr;g;t;i
f" l&l to the peopre, more i" ti" mainstrea*. 1. "sIy Poetry: hmela Brown talks about the relationship between
And I think whyr.A"d-do the peopre, whoever they are, reaily her poehy and popular culfure", Austoliant Book Reuiew tsg
want it?And the other thing I find about (April1994), pp. 4ffi.
that sort or[uu_tt;;'_
ing attitude is that wheo yo., think about 2, Kevin Brophy,''A long way, no?,,, Australian Book Reuiew 7Sg
who the people are,
they are the gallery-goers and people (April 1994), p.44.
who read the book pages
gtyway. so you are not going n rtner or anywhere else.
That, to me, always seems like an "oyempty
complaint!
So, whetg is your poetty going in the
futurc?
I'm in a bit of a phase of doubt and I've
taken a bit of a break
from it only for a month or so. I4lhen I rooked
- at what I,d
WOMAI{'S
VOICH
Jenny Digby

Go,un ,ahons ai/6 Zuslra^fr'an ?oe/s

University of Queensland hess

 First published rSgO by University of eueenslaad press
Box42, St Lucia, Queensland +O6z Aus-Ualia

@ fenny Digby 1996

This book is copyrigh!. Apart
{om any fair dealing
for the purposes of private study, reseirch, criticisln
CONTENT
or review, as permitted under the Copyright Act, no
part may be reproduced by any procejs vrrithout'written
permission. Enquiries should be made to the publisher.

Tlrpeset by Uuiversity of eueensland press

hinted in Australia Fbreword by Lyn McCredden
Distributed in the USAand Cana6" 6r, Acknowledgments
Internati.onal ecialized Book Servides, Inc.,
Sp
5804 N.E. Hassalo Street, Fortland, Oregon gT?,tg-g640 Introduction

Ol Rrblication of this title was assisted by

$e Commonwealth Govenoment thro.igh Dorothy Porter
-A the-Australia Council, its arts fundiqg -
THE TERAL POET
^"""'ltffiIl,
tl audadvisorybody. ]ennifer Strauss tOrr/EANIDDEAfiI En
THE U/EAIIIER

Gwen Harwood
f,'.il:"dffiH"Tfil*Xi::: tl*H;*"ry arr w iif,ks r s THE EVAI{ESCENTIE
Diane Firhey REVISIONART MTTTI
Cataloguing in Publication Data
Nationol Libmry of Ausfrr;.ka
Fhy Zwicky NOWAIVD AGAIN I TTE
Ania Walwicz THE POLTTICS OFEXTil
Digby, Ienny, 1956-
A womaa's voice: conversations with Aushalian poets. |an Owen SEE THE WORTDASIII
t. Aus$alian poetry - Women authors. 2. poets, fudith Rodriguez BAIHING IN A GRETITS
Aushalian
poets - 20th century
Australia - Intenriews.
Interviews.
3. Women
4. Women aad literature _ WONDERNJTWWT
-
Australia.I. Title. -
kmela Brown AI{A}IT IN THEAR}IE
4.827.3099287
Antigone Kefala A IdBYRINTHIA}.IIITIC
ISBN 0 7022 2732 3
Iudith Beveridge THE BEAUTY OF THBf,S
WORLD

Dorothy Hewett COMING TO TERlvrS IIU

Bibliography
References