Poetica Christi Press poetry competition results

Feeling very honoured to have my poetry acknowledged and affirmed in the Poetic Christi Press  Poetry Competition.

Unable to be at the Melbourne launch of the much anticipated Anthology

A New Day Dawns 

but look forward to receiving my copy of the Anthology very soon.

Fifth symphony     Highly commended

Colleen Keating

Vaughan Williams
composed his symphony
on fire-watch

barrages of bombs dropped
nightly enflamed his city
no air raid shelter

for him as he pocketed
his note pad and pen
fought in the crucible

of siren-moans
cries for help
and from the dark

composed music that plays
like a mountain brook
tumbling

in a moment
that brims
with a tomorrow

And to be included in a new Anthology  called

A NEW DAY DAWNS

an anthology of poems

edited

by Janette Fernando

WINNERS OF THE 2024 COMPETITION

A new day dawns

Poetica Christi Press poetry Competition 2024

Judge: Winner:

Tru Dowling
Wild With Scrub – Ellen Shelley

Runner-up:
Highly Commended: Fifth Symphony – Colleen Keating
Highly Commended:A Cool September Eve – Ellen Shelley
High Jinx – Laurie Keim

Commended
Mulch – Cathy Altmann
A Saint in Cobalt & Ochre – David Terelinck
Tacet – Bethany Evans
My Light Not Spent – Denise Parker
Sunset in Geraldton – Michael Genoni
Bleeding Hearts – Kate O’Neil
What the Water Gave Me – Jemma van Loenen
The Morning Star Guides Me On – Scott-Patrick Mitchell
Oriental Travel Trilogy – Stefan Dubczuk
Herm Island, Channel Islands, September 2023 –
Mary Jones Not About Dancing – Wendy Fleming
Sonnet – a Feather – Mocco Wollert
John – Claire Watson
Let’s Do It – Edith Speers
Janus-faced – Jason Beale
Polynesia, le ciel – Colleen Keating
Homecoming –Suzette Thompson
Blue-eyed Boy – Kay Cairns
On the Cusp of Morning – Claire Watson
Every Day I Wake – Janeen Samuel
Awakened – Wendy Fleming

My second poem Commended and to be published I will share her too

Polynesia, le ciel

Colleen Keating

It’s not ‘brothers, we must die,’ it is rather, ‘brothers, we must live’*

about light and colour he was never wrong
Henri Matisse knew from his youth
their startling wonder
how they exude a lighthouse authority
how they uplift human nature
when the world weighs low
and how when clouds of war
dim the sun
their illumination of hope can be forgotten
as in deepest night
it is easy to forget dawn returns

in Matisse’s Le Ciel
the lightness of joy fills the air
with a patchwork of his blues –
light and dark
alternating in and out
his cut-out sculptures of birds
float on the air
lift up dive whirl spin
ethereal in white
and dancing stars glint like enamel
or they could be flowers of joy
bordered by acanthus leaves
swaying hypnotically
reminding us to live

*H. Matisse (1946)

 

WINNERS-OF-THE-2024-COMPETITION-A-new-day-dawns

Eumeralla, A War Requiem for Peace by Colleen Keating

Eumeralla, A War Requiem for Peace

On the 11th September 2024 I enjoyed a redeeming evening at the Sydney Opera House with the one only performance of Eumeralla, A War Requiem for Peace. I say redeeming because after the ‘No’ vote for a voice to parliament many people felt helpless at how our story could move forward.    How wondeful to have people like Deborah Cheetham Fraillon to bring this story forward to the Opera House with  a packed house, with the Dhungala Children’s choir, Choir from Conservatorium,  Sydney Philharmonic  Choir and the Sydney Symphony Orchestra for a night of standing ovation sand cheers  and the peoples affitmation of bring our truth open for the healing to find a way forward for our beautiful countyr.

Deborah says:

“Just a little over four hours drive from Melbourne there is a battlefield haunted with the memory of war and loss of life. When you walk on this land, you are surrounded by restless warrior-spirits.

It is a powerful feeling and a fearful one. It is inescapable.

The name Eumeralla is unlikely to be among the theatres of war that you could name. The history of battles fought and the lives that were lost is almost unknown to anyone outside the Aboriginal community. It is more than 170 years since the last shots rang out in the country of the Gunditjmara but the land is not silent. The voices of those who lost their lives in defence of their country ring in your ears when you stand amongst the lava flows of south-west country Victoria. Unlike other theatres of war such as Anzac Cove and the Somme, where peace was declared and relationships restored with the Turks and Germans, no such peace was declared in the resistance wars, no such restoration.

Whilst the Gunditjmara uphold the memory of their warriors slain, most Australians have been denied access to this history and denied resolution – and so the land remains haunted.

I first walked on this battlefield in 2013. I felt it right away. I was moved and I was disturbed. Given the chance to camp on that land I could not sleep or find rest. The voices of those lost were so loud I couldn’t stay for more than one night. It woke something in me and my immediate response was music.

A song, A Requiem. A War Requiem.
It would be called Eumeralla and named in honour of one of the most brutal resistance wars fought on this continent. It would be sung entirely in the language of the Gunditjmara people and it is designed for non-Indigenous Australians to sing along-side Indigenous brothersand sisters. We need a way to ease the troubled spirit of the battlefields of the Eumeralla.

It is my hope that this song, this war requiem will help the spirits of those who fell – those who resisted and their aggressors, to find a lasting peace and that we their descendants might find our way to deeper understanding of the legacy of these battles. For you, for me, for all who were lost in a war Australia has yet to find a way to talk about. Eumeralla, a war requiem for peace will break the silence of so many decades and serve to amplify the importance of our nation’s shared history.

One day I hope to walk on that country and feel no restless spirit – just the strength of two thousand generations of lives lived and culture sustained.”

Deborah Cheetham Fraillon ao

When celebrated Yorta Yorta/Yuin soprano-composer Deborah Cheetham Fraillon visited Lake Condah in south-west Victoria, she was haunted by the voices of the Gunditjmara people who had lost their lives protecting their country.

Her immediate response was to write this powerful Requiem, to ease the troubled spirit of the land and to amplify the importance of our shared history.

Experience the colossal sound of Eumeralla in the Sydney Opera House Concert Hall in this milestone Sydney premiere. With a full symphony orchestra and massed choirs – including the voices of Dhungala Children’s Choir – and sung entirely in the ancient dialects of the Gunditjmara people, Cheetham Fraillon has created a musical work that is a compelling call for peace and reconciliation.

‘One day I hope to walk on that country and feel no restless spirit – just the strength of two thousand generations of lives lived and culture sustained.’ – Deborah Cheetham Fraillon.

 

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Act 1: Pernmeyyal the great creator stands proud in the dreaming, surrounded by the creator beings he sent long ago to create the landscapes.

Act 2: Something has awakened the spirits, it is ominous and dark, a monster that has a hunger and breeds destruction.

Act 3: A call to arms, warriors stand at the ready, weapons at the ready to stand and protect all that sacred.

Act 4: The monster that is revealed as WAR is here, blowing uncontrollably like a wildfire through country, sweeping all comes before it.

Act 5: Spirits, high in the sky, watch as the Eumeralla turns blood red and the movement of the people across a sweeping landscape becomes evident.

Act 6: As Gunditjmara become victims of the monster their spark travels to Pirnmeyyal through the wetlands.

Act 7: The giant wetlands and stones created by Budj Bim become a fortress for the people, the creator’s body is providing protection.

Act 8: The monster rages on, its thirst for land and conquest is insatiable, leaving little trace of the peoples’ existence.

Act 9: But the people are stronger than that, evidence remains and people continue to live, they are stronger than first thought.

Act 10: Ancient fish trap channels, the lifeblood of the people, the water continues to hit the channels, the people continue to be there.

Act 11: The spirits of the fallen continue to walk, talk and dance the landscape, trapped in limbo.

Act 12: The stones continue to have a life force, etched by generations of Gunditjmara. Moving to escape the monster.

Act 13: Although the country has changed, the spirit and culture of place remains. It all looks different through a Gunditjmara cultural lens.

Act 14: Pernmeyyal awaits the spirits to come ‘home’.

Act 15: Spirits on the journey to the dreaming, streaming in flight. The cultural essence.

Act 16: This is ceremony, this is lore, this culture and this is US.

Act 17: We seem them, the spirits, when we look at the sky and see the stars. They are ‘home’.

Act 18: The Eumeralla continues to sing, the country has a story to tell, culture lives.

Act 19: The effect of the monster that is named war. A bloodstained landscape. The fighting Gunditjmara stood and protected defended, we know this and feel this as we are Gunditjmara.

About the Artist

This is a journey of inner reflection directed at the core of what it means to be Gunditjmara, a descendent of warriors, a direct descendent of the ‘Fighting Gunditjmara’.

I’ve captured it through the cultural lens that our culture demands, that my spirit as a Gunditjmara man demands. My own personal journey from a young boy being told the story, to a young man walking the battlegrounds to the man that now understands is captured here within

the artworks.

This is our story.

TomDay

Gunditjmara, Yorta Yorta and Wemba Wemba man and multi-disciplined artist

I was raised on this country, I’ve walked this country, I know this country. The presence of the old people reveals itself to me with songs being carried in the winds and I then interpret their story, our story. Eumeralla represents power, sings of our story and is at the heart of our identity.

It conveys the truth, however difficult, and tells of resilience and strength.

Tonight represents the visual telling of that truth, of that strength and of the people who endured it.

 

Nude Woman Ascending the Staircase by Salvador Dali by Colleen Keating

 

A good thing about getting lost is you find the unexpected. This was our luck on our first morning in Singapore. We had studied the map to know we could walk out of our luxurious quiet hotel and down town to the Hop on Hop off bus depot. We looked forward to the walk after the long flight the day before and  seeing Singapore. We did not expect the chaos, the heat,  the rush and bustle , the noise, the complicated roads, the building sites and hence were quickly lost. That’s when I heard a fountain playing and noticed a calm square between towering building  and curiosiously we decided to investigate. 

 

Nude Woman ascending Staircase

We discovered  a haven of sculptures . Workers whisked past gobbled up by the buildings, locals hurried by heads down about their business. We, like the pilgrims we wanted to be rather than tourist, we looked, stopped  and enjoyed  the experience. That is when  Nude Woman  Ascending the Staircase  caught my attention.   I loved the paradox  of softness (the animal and hardness (the shell )  and the sculpure of the soft body of the female figure  climbing 
and the message of portraying helplessness by her body being headless was powerful for me.
It just blew my mind. I would like to say she climbed into a ceilingless sky 
but a canopy of unbroken glass was part of the building was obviously  in the way. 

There were quite a few other installations and scuptures  set up by the owner of the Park View Square set up as a tribute to elegance and humanity Parkview Group was established by the Hwang family,   Several embassies are on different floors and the Ground floor is a very popular baar which we did not get to see

nude woman ascending.jpg

Parkview Square is located in Bugis area. Singaporeans have dubbed it the “Gotham Building” because its dark, imposing design looks like it’s been conceived in Batman’s Gotham City.

I first visited this place a few years ago for drinks at the lobby bar. What intrigued me the most, is the fact that this building seemed rather out of place. It’s so sombre and opulent that I thought it only belonged in another era, a difference country. Looking around, you could feel the total devotion, an enormous sense of pride and perhaps even some self-indulgence (i say this with the utmost respect and envy) of its architects and designers, under a no-expense-is-spared commission of their visionary client, the late Mr. C. S. Hwang, founder and chairman of Chyau Fwu Group.

parkviewsq day time.jpg(Image source: parkviewsquare.com.)

Unlike many contemporary office buildings that emphasize the application of steel and glass in minimalistic fashion, Parkview Square (Year 2002) was built in the classic Art Deco* style, similar to the Chanin Building (Year 1929) in New York. The facade of this building is mostly clad in brown granite, bronze and lacquer.

(* Art Deco is a style of visual arts, architecture and design that first appeared in France just before World War I. It combined modernist styles with fine craftsmanship and rich materials. Influenced by bold geometric forms and bright colors of the art movement then, it often draws inspiration from the exotic art of ancient China, Japan, India, Persia, Egypt and Maya.)

parkview square night view by meinhardt dot com.jpgThe night view. Image source: Meinhardt Singapore.

parkview square statues.jpg(Image source: Steve Taylor, flickr.com)

There are many statues and sculptures both outside and inside the building, here I will only highlight the more prominent ones. Let’s start from the top (shown in the above photo.) Actually, there is a story/urban myth behind these statues sitting atop the building which can hardly be seen from the ground level. If you take a look at the first photo in this post again, you will notice there are 2 diamond-shape buildings behind Parkview Square, which are The Gateway (Year 1990) designed by the world renowned architect I.M. Pei. (I’m a huge I.M. Pei fan, too. He just turned 100yr old this April!) However, many local Feng Shui masters speculate that the design of The Gateway is considered “bad luck” for any other buildings to be near it, because of its dagger-like appearance. People believe that it would “cut through” all the other buildings, and the tenant companies in their building will be doomed to fail (“cut to pieces”.)

So for many years, the area around The Gateway remained undeveloped. That is, until 2002.

In 2002, Park View Square was built, and it was specially designed in the classic Art Deco style to protect itself from the “daggers” of Gateway. The 8 gigantic statues of men holding a light ball in their hands, 4 of them standing on each broad side of the building’s crown, were crafted to “guard” Parkview Square against “bad luck.” Believe it or not, this story does show you that it’s not uncommon among Chinese property developers to consult their trusted Feng Shui masters before committing to a project.

crane.JPGThis photo is taken by me, so is the next one.

Now we have come to the ground level. Standing in the center of the plaza, facing the main building, you could see there is a statue of a golden crane with its head lifted, pointing towards the direction of mainland China. On the pedestal, a Chinese poem is written:

poem of crane.JPG

黄鹤楼 Yellow Crane Tower (Referring to Parkview Square)

故国旧有黄鹤楼 There is a Yellow Crane Tower in my homeland,
北望神州几千秋 Looking in the North direction (towards China) for many years,
黄鹤展翅飞万里 Yellow Crane spreads its wings to fly tens of thousands of miles,
伟哉狮城见鹤楼 The great Lion City (Singapore) sees this Yellow Crane Tower.

Pardon my plain and literal translation of this poem. It was composed by the late Mr. C. S. Hwang himself. This is the most personal and meaningful art piece at Parkview Square because of Mr. Hwang’s life experience. He was born in Teochew, China in 1926. During the Second Sino-Japanese War (1937-1945) he joined the Kuomintang/Nationalist Party (as opposed to the Communist Party) army as a reporter. After the Japanese surrendered in 1945, and the Communist Party won the Chinese Civil War in 1949, he retreated to Taiwan along with the Kuomintang army. While in Taiwan, Mr. Hwang started a construction business that became very successful, and he had since established himself as an influential property developer in Taiwan, Hong Kong, mainland China, France and Singapore. His company earned a reputation for top-end landmark projects that set new benchmarks for quality and innovation.

For someone who traveled extensively and lived in different countries, Mr. Hwang always had a longing for his hometown in China. This poem expresses his feelings deeply. Parkview Square was his final project, as he passed away 2 years later in 2004.

parkview square statues sun yat sen et al.jpg(Image source: Andrew Boyd, flickr.com) These are the bronze statues on both sides of the plaza. From left to right: Sun Yat-sen, Churchill, Lincoln, Plato. There are another 4 which are not shown here, they are Dante, Dali, Newton, and Chopin.

Mr. Hwang (and his eldest son George Wong’s) love for Dali’s art is quite evident as there are 2 sculptures by the Surrealist artist installed in the garden, and another 4 in the lobby. They’re part of George Wong’s personal collection. I like Dali’s paintings much more than his sculptures, to be honest. Because they are way more imaginative, expressive and magical.

snail queen dali.jpgSnail Queen (1974), by Salvador Dali. Bronze, 180 x 290 x 87cm. (Image: tsingapore.com ) I quite like how they digitally added a giant canvas behind to showcase each piece, eliminating background distraction.

nude woman ascending.jpgNaked Woman Climbing A Staircase (1974) by Salvador Dali. (Image: tsingapore.com )

dressed woman by botero.jpgThere is also a sculpture by Fernando Botero, Dressed Woman. (Image: Choo Yut Shing, flickr.com) It’s always pleasant to look at Botero’s distinctive voluptuous sculptures because in reality most people are attracted to slim bodies. There is another sculpture by Botero (titled Bird) in Singapore as public art, it’s installed outside UOB building along Boat Quay.

Ok, it’s time to go inside for a drink now!

atlas official photo.jpg(Image source: atlasbar.sg) The lobby is majestic! However, it’s never this bright. Even in daytime, it’s still pretty dark and chill indoor. Excellent ambiance! Very cozy and relaxing.

The newly renovated Atlas Bar is known for its very special champagne and gin collection, and it’s helmed by one of Europe’s leading bartenders, Roman Foltan, who previously worked at Artesian at The Langham, which is voted the World’s Best Bar four times consecutively.

My friends and I had enjoyed the cocktails very much, even though i usually prefer plain alcohol served as it is, or maybe just add water/ice.

atlas bar 3.JPG

Launch of Tintinnabulum by Judith Beveridge

Tintinnabulum  by Judith Beveridge

Tintinnabulum was launched by poet Audrey Molloy at Gleebooks on  a delightful warm winters Sunday afternoon. 25th August  2024.

It was done in a conversational mode. Audrey’s questions helped Judith to open up about her writing .

Firstly the title. Judith explained, it is always difficult to come up with an interesting title. 

Tintinnabulum  means ‘little bell’ in Medieval Latin . As a verb it refers to a  ring or sound like a small bell,  peal, ring, sound sonorously . eg the tintinnabulation of wind chimes blowing in the breeze. or I always look forward to the joyous tintinnabulation at church during the christmas season. 

Judith makes a list of possible names for a title and slowly narrows it down.  In this book she explores what poetry can uncover through musicality and analogy  and how these elements can open up sacred space . The title Tintinnabulum is an onamatopeia word ( the naming of a thing or action by imitation  of natural sounds as buzz or hiss ) and that title became the final choice as one or two poems include that word .  Robert Frost says, ‘sound is the gold in the ore of poetry’ 

“I chose the title meaning ringing of little bells  to suggest celebration and to indicate that many poems in the collection,  engage in almost ritualised observance of precise aspects of the physical world . 

Judith would like to be called an imagist poet.

In this book she looks specially at animals, landscape and at people in certain environments.” 

Sacred space comes into being  with the idea of relationships and the idea of apprehending the interconnections  with  them especially  through the use of metaphor. 

Walking with the poet  captures this.  A poem in memory of Dorothy Porter.  She often uses water landscape . Rilke says ‘praising is what matters ‘

Judith is interested in the ways which simile and metaphors can create relations that previously might have been unnoticed. 

“My poetry centres around this core aspect of poetic language. ‘

She has been influenced  by Seamus Heaney , Robert Frost, Hopkins, Amie Clapton , Walcott, Plath . 

Sound

Sound affects the  reader  – when it hits our gut our feeling centre. For a poet  human emotions are full of potential. 

Love the sound of Plath  “A bird flits nimble-winged in thickets”  Sound is a great tool to get feelings rippling through the poem.  

Using poetic devices to give surprise and visceral response

Peppertree Bay  is pure adventure using metaphor, simile and imagination.  They are tools to connect  – dissolve boundaries to connect things in our gut  – healing, restoring,  and helping to open up sacred spaces .Pictures in your head she wants them to curl into your imagination and stay.  eg Breakwall octopus and ballet shoe, 

a kite letting down . . .  

A writer needs to balance imagination and reality.  

“You can have an imaginative garden but you need real toads in it” 

The poem The Light on Marine Bay  began with something real. Light on water at North Parramatta Park !

James Dickey says it is alright to lie in poetry  . It is a literary strategy to delve deeper into deeper truth . 

Empathy  

is an important quality. eg Cruelty of animals is appalling 

However sentimentality  can undermine the real feeling of a poem .  and sentimentality can be caused by a lack of attention.   Read The Dancing Elephant  There is an iron bell resonance between the animal and reader. 

Attentiveness is the natural prayer of the soul.

Assonance 

She loves Wallace Stevens  and works with his poetry in one section. 

His poems Snowman and 13 Ways to look at a Black Birds.

“One must resist the intellect almost obsessively . Forget the context, get the music . Failed poetry is when the content takes over. 

 

JUDITH SIGNING MY BOOK > I BELIEVE SHE IS ONE OF OUR GREAT LIVING AUSTRALIAN POETS .

 

Judith Beveridge: a note on Tintinnabulum

The renowned Australian poet Judith Beveridge reflects on her much-anticipated new collection of poems Tintinnabulum (1 July 2024), the first since her prize-winning Sun Music in 2018. Read an extract from the book here.


Tintinnabulum explores what poetry can uncover through musicality and analogy, how these elements can open up sacred spaces. I have chosen Tintinnabulum as the title (which means the ringing of little bells) to suggest celebration and to indicate that many poems in the collection engage in an almost ritualised observance of precise aspects of the physical world. I look specifically at animals, landscapes, and at people in certain environments.

Sacred spaces, I believe, come into being when we perceive relationships and apprehend interconnections. I have always been interested in the ways in which similes and metaphors can create relations that formerly might have been unnoticed. My poetry has centred around this core aspect of poetic language and Tintinnabulum continues this with perhaps more urgency and power, but also with humour and surprise.

I also love to use language that is distinctly focussed on sound as a way of enhancing meaning and providing pleasure for the reader. My animal poems, which make up the book’s first section, delve into how we often interact with cruelty and insensitivity to non-human animals, but I also look at ways in which encounters with animals throw their ‘otherness’ into stark relief such as the distinctly alien lives of cicadas, leeches, bluebottles.

The second section focusses on the human world and brings to bear a sense of compassion for the difficulties that people encounter: surfers on a high sea, a waitress unhappy in her job, two brothers suffering racist cruelty, as well as elegiac poems about friends and family members.

The third section consists of imaginative/hallucinogenic scenarios, and is my most poetry at its most weirdly inventive. This section culminates in a joyous romp through sonic repetitions and is a homage to the poetry of Wallace Stevens.

The poet Edward Hirsch has said that ‘Attentiveness is the natural prayer of the soul.’ I believe the final section of the book attempts this level of worshipful attention evoking the beauty and awe to be found in landscapes. It is my aim that readers, after reading Tintinnabulum, will find the world less fragmented and more interconnected, that language can be felt as an activating mechanism for wonder, joy and revelation.

— Judith Beveridge, May 2024

Spring haiku by Colleen Keating

 mountain mist ~
from our chairlift
the sound of cow bells
Colleen Keating
______________________-

two lorikeets
on my sun-lit deck
catch-up coffee

crowded festival
the shin shin
of falling blossoms

Colleen Keating

–––––––––––––––––––––––––––

 

school assembly
her first public speech
scent of jasmine

Colleen Keating
––––––––––––––––––––––––

ripple on the pond
as a koi surfaces. . .
falling leaves

Colleen Keating

–––––––––––––––––––––––

spring blossoms
soften stone
and hearts

Colleen Keating

______________________

wind chimes ~
southerly breeze
wild bamboo

Colleen Keating

________________________

winter memory ~
crisp red apples
locally grown

Colleen Keating

–––––––––––––––––––––––––––

old age…
propped-up cherry tree
blossoms

Colleen Keating

Mosaics in the portico of the National Art Gallery London by Colleen Keating

Mosaics in the Portico

tread gently
you walk
on sacred ground

The first picture that greets visitors to the National Gallery is not an Old Master, nor an Impressionist. Nor does it even hang on a wall. Set into the floor of the first landing in the Gallery’s Portico entrance is ‘The Awakening of the Muses’, a marble mosaic laid in 1933 by the Russian-born artist Boris Anrep (1885-1969).

Between 1928 and 1933, the National Gallery commissioned Anrep to lay two mosaic pavements in the vestibule of the Main Hall to illustrate ‘The Labours of Life’ and ‘The Pleasures of Life’. In 1952, Anrep laid a third pavement, ‘The Modern Virtues’.  The resulting mosaics are a celebration of everyday life, which lies underfoot in a busy public place.

Anrep was an associate of the Bloomsbury Group of artists and writers, who notoriously championed modern art and modern attitudes. His Muses are not heavenly immortals, but portraits of people from his own world. Many of the characters are played by Anrep’s Bloomsbury friends.  I love that. And the photos dont do justice to the beauty of all these fine old tiles that people walk on and many not even noticing . 

Lucidity, Astronomy, Compromise, Delectation,
Humour, Folly, Dance, Sixth Sense,
Pursuit, Art, Football, Defiance.
Defiance

Compromise

Rest

Curiosity

 

Phillipa Holland Poetry Award for 2024 winner Colleen Keating

I am honoured and excited to win the Phillipa Holland Poetry Award for 2024 for my poem Two Canticles It was announced in the Fellowship of Australian Writers  Eastwood/Hills Poetry Competition, Saturday afternoon 3rd August 2024  on a Zoom meeting to  avail us all  shortlisted candidates to come together from all over Australia.  Thank you to the judges and hard working organisers Carolyn Eldridge-Alfonzetti and Frances moon

I had two poems Shortlisted for the selection, Two Canticles and Ungraspable.

It was also exciting to have my second poem Highly Commended.

Results

Winner of the Phillipa Holland Poetry Award 2024   for the poem Two Canticles.  Colleen Keating

Highly commended in the Phillipa Holland Poetry Award 2024 for the poem Ungraspable  Colleen Keating

Annual Literary Competition Results 2024

AUGUST 3, 2024 / HILLSFAW

 

Eastwood/ Hills FAW has completed judging for our Annual Literary Competition. We are very pleased to congratulate the following 2024 Category Winners and place-getters.

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I feel my winning poem is appropriate for today August 2024 as it is a cry for peace , still a cry  over the hundreds of years from St Francis in the 12th century to Francis Webb who lived in the late 20th century dying in Sydney in 1973 and now I wrtie in 2024 and it is acknowledged with an award.

Last night my award became a reality when i heard from my poetry group Pennant Hills Poet   receiving congratulations even before I could find a list of the winners. Thank you to David and the group for their constant support and positive  edits of our work  each week.

Dear Friends
I have learnt some wonderful news; please excuse me piggy backing on earlier emails.
The results of the annual competitions convened by the Eastwood/Hills FAW have been announced. Our own Colleen has won First prize in the Philippa Holland Award (for poetry) with her poem “Two Canticles”. And Colleen had another poem Highly Commended as well.
Congratulations, Colleen!
Best wishes
David

Eastwood/Hills Fellowship of Australian Writers

Dear Colleen Keating,

I am pleased to announce that your entries ‘Two Canticles’ and ‘ungraspable’ have been shortlisted in the Poetry category of our literary competition.
The Presentation is scheduled to be held via Zoom on Saturday the 3rd of August, 2024 at 2.30pm.  Shortlisted entrants will need to have their entry/entries handy to read out should they be awarded First or Second Place.
The Zoom link will be emailed the day before the event.  Please let us know via return email if you are able or unable to attend.
Thank you for entering our competition.
Regards,
Carolyn Alfonzetti
Competition Secretary
Eastwood/Hills FAW

Poetica Christi Press Poetry for 2024 Anthology A NEW DAY DAWNS

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13 Alexandra Crt, Woori Yallock, 3139. website : www.poeticachristi.org.au   

email:poetica@iprimus.com.au

Dear Colleen,                 July 2024

I’m delighted to let you know that your poem

Fifth Symphony

was awarded Highly Commended by our judge Tru Dowling for our 2024 Annual Poetry Competition – A New Day Dawns. 

As well, your poem Polynesia, le ciel was one of the top 25 poems selected by her to go into the anthology.

The list of poems selected by the judge, together with her report, will appear on our website in early August.

Our book committee has also been through all the poems submitted and we have chosen your poem From my balcony to be included in the collection.

Well done on having all three of your poems chosen for the book!

When we begin publishing the anthology we’ll keep you informed of its progress. The launch of A New Day Dawns is set for Sunday, September 22nd at 2 pm at the Box Hill Community Arts Centre in Melbourne.

Once again, congratulations and best wishes.

Janette Fernando

Managing Editor

Poetica Christi Press

 

Poetica Christi Press Poetry Competition 2024

Judge’s Report

I so enjoyed the taxing but rewarding task of choosing from this year’s 196 entries. Poems varied in length, topic, and depth; all were true to the enlightened theme. There were many worthy, beautifully-made poems. Free verse outnumbered the few formal poems (villanelles, sonnets, haiku and prose poems, an acrostic poem, and a delightful concrete hybrid in Sudoku form!). Honest tributes to family, faith & nature dominated, as did literal dawn descriptors. It’s a challenge to write about ‘The Dawn of a New Day’ – such a universal, known and written theme. Some poems told (rather than showed the reader through sensory details and fresh images), slipping into cliches that undermined the unique lines. Poetry invites and opens us to possibilities, revealing the world and ourselves in new ways. The better poems explored these possibilities with nuanced expression.

Poetry distils language and ideas. Its clarity and brevity captures, surprises and explores. (Webster defines the verb explore: ‘to travel in or through’). The finalist poems travel rhythmic trails through scrub and sky, on bikes and waves, in the past and other lands, where ‘bells fill our heads’ and ‘stars glint like enamel’, where a ‘cat sits with dreams’  and we are ‘lost in…raven’s hue’, as ‘the future hides behind the moon’ and ‘we wake to everything’, ‘with probing beak(s)’. These are some of the stunning lines that held me with their woven originality and sealed my 25 choices.

The winning poem, Ellen Shelley’s ‘Wild With Scrub’, wowed with its surprising turns of phrase and direction. Shelley tracks the narrator’s challenges through concrete and abstract images, metaphor and paradox, ‘turning hours like a sleeve up and over’ – beautifully exacting the effort of being a mum –  to ‘I have done enough (walking/ escaping) to turn around’ towards the poem’s end. ‘A new day dawns’ at each effort, as momentum marries flow throughout. It’s a tight, meandering and carefully-crafted poem that demonstrates its meaning through expert wordplay. It causes me to wonder and feel, and speaks to other, universal journeys of culture and gender.

Second place was hard won, since three poems particularly took my attention: again, Ellen Shelley excels as runner-up with ‘A Cool September Eve’ –her surprising prose poem. I have taught short story for 16 years so am quite skeptical towards this hybrid form, but Shelley’s mastery of well-placed words that enlighten realization within the setting won me over. The structure supports content via word choice, and sensory action and reaction. The subject’s running pastime in past time, ‘around an oval’, along with the ‘bike …being held by a/ stranger… (I) felt strange/ unease’ hints at a skewed experience. Again, the poet takes us far, from home safety to threat, and through the redeeming sustenance of habit. It’s a highly original poem that evokes theme all the way through.    

Colleen Keating’s ‘Fifth Symphony’ balances an artist’s response to the destruction around him, and  the poet’s response – both witnesses to the ongoing ‘music that plays like a mountain brook tumbling’.  It’s a deceptively simple, nuanced poem. The poet contrasts fire watch to water music, amidst sounds that ‘cry for’ an eventual new dawn, transforming the moment and beyond along with the lyricist’s crucial work. Keating’s exacting metaphor exposes a paradox, conjuring beauteous composition out of the chaos of war. It was a strong contender for second place, as was ‘High Jinx’ by Laurie Keim. Keim’s structure riffed on and overtook the poetic subject – watching (and becoming) birds. Lines like wings extended imagination to see these avian ‘signs’ resulting in the narrator’s realization that ‘it’s all in your fingertips/feel the breeze/ like a tremble/ through your feathers’. It’s uplifting, in every sense. There’s a touch of Mary Oliver about this poem, a complexity through simplicity as thought and sight explore and expand meaning in air, flight in birds, knowing power in unknowing. These gifts are so carefully and care-freely rendered by form.  All three were well-wrought poems.

It’s been my pleasure to engage and immerse myself in these poems of laughter, intensity, care, and fruitfulness. What a humbling, inspiring exercise. Congratulations to all poets involved – long may your art and craft continue to grow and affect. Thank you for the experience.

Tru Dowling 2024

POETICA CHRISTI PRESS

13 Alexandra Crt, Woori Yallock, 3139. website : www.poeticachristi.org.au

email:poetica@iprimus.com.au

Dear Colleen, July 2024

I’m delighted to let you know that your poem

Fifth Symphony

was awarded Highly Commended by our judge Tru Dowling for our 2024 Annual Poetry Competition – A New Day Dawns.

As well, your poem Polynesia, le cielwas one of the top 25 poems selected by her to go into the anthology.

The list of poems selected by the judge, together with her report, will appear on our website in early August.

Our book committee has also been through all the poems submitted and we have chosen your poem From my balcony to be included in the collection.

Well done on having all three of your poems chosen for the book!

When we begin publishing the anthology we’ll keep you informed of its progress. The launch of A New Day Dawnsis set for Sunday, September 22nd at 2 pm at the Box Hill Community Arts Centre in Melbourne.

Once again, congratulations and best wishes.

Janette Fernando

Managing Editor

Poetica Christi Press

Women’s Ink Winter Issue 2024

 

I am very excited to receive the latest Women’s Ink , Winter Issue 2024,  in the mail and find 3 of my  poems   on the themes of  art and artists  make a double page spread..

Escaping with Cézanne  and sunflowers both published in my anthology Fire on Water , H.Commended in the SWW Book Awards 2017

and Le Ciel to be included in my up and coming collection, Ring with the Bells to be published  in 2025

Thank you to the editor Josephine Shevchenko, and to the President Maria McDougall for their work for writers . .