“Originals of Revisable Originals”

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Notes

notes

1 Susan Stewart, On Longing (Durham, NC and London: Duke UP, 1993) 136, 138.

2 Michael Farrell, a raiders guide (Sydney: Giramondo, 2008) n. pag.

3 Jed Rasula, This Compost: Ecological Imperatives in American Poetry (Athens, GA: U of Georgia P, 2002).

4 The formal celebrations accompanying National “Sorry” Day on 13 February 2008 began with a Welcome to Country in Canberra's Parliament House, for the first time signalling an invitation by Indigenous legal custodians for parliament to proceed.

5 Kate Fagan, “Relational Acts,” 3rd Sydney Poetry Seminar, 17 May 2005; subsequently published in Five Bells, the magazine of the Sydney Poets’ Union.

6 Peter Minter, “Valentinea” in blue grass (Cambridge: Salt, 2006) 86.

7 Kate Lilley, Versary (Cambridge: Salt, 2002).

8 Walt Whitman, “This Compost” in Leaves of Grass, 2nd ed. (Oxford: Oxford UP, 1991) 285: “Behold this compost! Behold it well!”

9 See, for example, Michel Foucault, Discipline & Punish: The Birth of the Prison, trans. Alan Sheridan, 2nd ed. (New York: Vintage/Random, 1979) 31.

10 Peter Minter, Empty Texas (Sydney: Paper Bark, 1999).

11 Lyn Hejinian, “Reason” in The Language of Inquiry (Berkeley: U of California P, 2000) 347.

12 Paul Hardacre, Love in the place of rats (Melbourne: Transit Lounge, 2007); Gabriel García Márquez, Love in the Time of Cholera, published first in Spanish in 1985.

13 Note that Hardacre's poem “love in the pan-tropics” begins with an epigraph from Australian poet Laurie Duggan, from The minutes: “The age of graffiti is over.” This implies a dialogical textual regime in which no citation, scrawl or tagline is out of place.

14 Pierre Joris, A Nomad Poetics: Essays (Middleton, CT: Wesleyan UP, 2003).

15 Peter Minter, unpublished email to Forrest Gander, 9 July 2008.

16 Pierre Joris, “Notes toward a Nomadic Poetics Version 1.02b,” available <http://www.albany.edu/~joris/nomad.html> (accessed Feb. 2009); Joris cites Celan in his first paragraph.

17 Joan Retallack, “The Poethical Wager” in Onward: Contemporary Poetry & Poetics, ed. Peter Baker (New York: Lang, 1996) 295.

18 One instance of this sample-play might be the poetical epigraph, which often works to “stake a claim” to a disruptive allegiance or new family grouping–an approach employed by Paul Hardacre throughout Love in the place of rats.

19 Peter Minter, “Political Economy & Raphael's ‘Madonna of the Pinks,’” blue grass 49.

20 Patrick Jones, “A Free-Dragging Manifesto” in [HOW TO DO WORDS WITH THINGS] (Daylesford, Vic.: Tree-Elbow, 2008) 65.

21 Gertrude Stein, “How Writing is Written” in How Writing is Written: Volume Two of the Previously Uncollected Writings of Gertrude Stein, ed. Robert Haas (Los Angeles: Black Sparrow, 1974) 151, 154.

22 Gertrude Stein, “Composition as Explanation” in What Are Masterpieces, ed. Robert Haas (New York: Pitman, 1970) 31–34.

23 Charles Olson, “PROJECTIVE VERSE” in Postmodern American Poetry: A Norton Anthology, ed. Paul Hoover (New York: Norton, 1994) 613–21.

24 Michel Foucault, “Nietzsche, Genealogy, History” in Language, Counter-Memory, Practice: Selected Essays and Interviews, ed. and trans. D.F. Bouchard (Ithaca, NY: Cornell UP, 1977) 139–40.

25 “Poetry and the Trace: An International Conference” was hosted by the University of Monash between 13 and 16 July 2008 at the State Library of Victoria in Melbourne.

26 Michael Farrell in conversation with the author, 12 July 2008. The website WhenPressed (http://whenpressed.net) was founded by Australian poets Nick Keys and Tim Wright, and designed by Pat Armstrong.