Laurie Duggan – författare
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6 produkter
6 produkter
250 kr
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Laurie Duggan was born in Melbourne in 1949 and lives in Brisbane. He is the author of eleven collections of poetry in Australia, as well as a volume of cultural history "Ghost Nation: Imagined Space and Australian Visual Culture 1901-1939" (2001). "The Ash Range", originally published by Picador Australia in Sydney in 1987, won the Victorian Premier's New Writing Award that year, and is a major milestone in the author's career. The book is a long work that mixes prose, poetry, reportage and illustrations - somewhat in the manner of William Carlos Williams' "Paterson" - to narrate a history of the settlers' engagement with Gippsland, an area of south-eastern Victoria State, the narrative runnning through until the latter half of the 20th century, ending roughly when the author himself left the area. Like "Paterson", which concerns itself with small-town New Jersey, "The Ash Range" is not constrained by its locality, but instead finds the universal in its examination of the local.While the work is enormously ambitious in its mix of materials, the whole is welded into a solid structure that facilitates communication of the theme, even to an audience that has never heard of the territory it celebrates. This second edition of "The Ash Range" is published simultaneously with the author's Selected Poems 1971-2003, "Compared to What".
206 kr
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'Crab & Winkle' is a warped Shepherd's Calendar for the age of climate change: a journal of Australian poet Laurie Duggan's first year as a resident in England, it centres specifically on the area of East Kent where he lives, featuring excursions and interludes elsewhere in Britain, the Continent and North Africa. The book's title comes from an old railway route in the heart of Duggan's new territory.
187 kr
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The Pursuit of Happiness collects shorter poems written during and after the composition of Crab & Winkle, and concludes with 'The Nathan Papers', an earlier and longer work written in Australia. The poems address the state of the art and the state of the nation, investigating the spaces left for pleasure in this new dark age. As anthropological investigations, they shift from Robert Creeley, burgers and South African wine on Charing Cross Road to images of Santa Claus in Anglo-Greek Paphos and Japanese tourist signs in the Bronte country.
187 kr
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"The small poems ...slowly build up to a much larger narrative; a narrative of time and memory, of thinking and looking and being in the world, a kind of history that is happening on the sidelines." - Fiona Wright "Sceptical as I am about anti-poetry, of which there is a lot around and which can assume many different forms, the fully formed poems are not the only writing I can value in a book like this. There is too much wit, absurdity, and sheer verbal craft to be ignored." - Peter Riley
187 kr
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"Sceptical as I am about anti-poetry, of which there is a lot around and which can assume many different forms, the fully formed poems are not the only writing I can value in a book like this. There is too much wit, absurdity, and sheer verbal craft to be ignored." -Peter Riley"We've all seen how, after a night of drones, an experimental poet comes out to read, wielding the vernacular, and the room lights up. There's laughter, joy, play, confusion, a rmation, all the things that make poetry what it is. This is why poets in the generation including Duggan, Pam Brown and Ken Bolton are so accessible to readers and listeners, because of their interest in the page-as-field (perhaps an 'Olsonesque' sense), and the everyday vernacular. The only reason Conventional Verse Culture still claims to own the (ever-elusive) 'average reader' is because of the structures and frameworks in place that tell people they do. This is not because people on the street speak like CVC." -A J Carruthers
231 kr
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"Duggan's is a poetry that determines to surprise: almost daring a reader to exclaim: you wrote like this about that?" -Alan Wearne, Sydney Morning Herald"I think of how Pound defined the image as `that which presents an intellectual and emotional complex in an instant of time'; and, still being thoroughly sane back in 1913, he went on to say: `the natural object is always the adequate symbol'. Such an imagist doctrine has always been at the heart of Laurie Duggan's sharp-eyed work, ever since the days when he was at the core of a group who got together at Monash, back in the 1960s." -Chris Wallace-CrabbeDuggan's poetry has the virtue that it never `abandons the local'. Like Paul Blackburn-a poet Duggan manifestly admires-he builds his work out of what he finds in, on or about the premises." -Tony Baker, Jacket"How ferociously Duggan attends both to the there of the world . . . and the here of writing." -John Latta, Isola di Rifiuti"The small poems ... slowly build up to a much larger narrative; a narrative of time and memory, of thinking and looking and being in the world, a kind of history that is happening on the sidelines." -Fiona Wright "The poems of Allotments and Under the Weather can often seem easily-done, casual jottings but there is a complex pattern behind their conception and an extraordinary quality of poise about their execution. Both books remind us what a remarkable poet Duggan has become." -Martin Duwell