Eucalypt Issue 37 2024 ed. Julie Thorndyke

 

 

Thank you to the editor Julie Thorndyke for an exquisite production of the latest Eucalypt .

I can always feel the love and care in the selection and  placement  of  the tanka on the page

which of cousre enriches each one tanka.

Your work is appreciated. 

I am proud to be included with so many fine Tanka writers and  sensitive work  in this latest issue. 

 

 

     

 the wet sand

of the ebbing tide

reflects a pink dawn

my bare feet encounter

the first touch of spring

Colleen Keating

Thrilled to see Pip Griffin and Dr Andy Hede as two of my Tanka friends included in the latest Eucalypt

 

 

 

 

 

 

Another favourite of my tanka

pink glow

behind silver grey clouds

waiting

medical reports

still to be read

Colleen Keating

 

 

U3A Talk on the unfolding of her writing life by Pip Griffin

 

Last Friday 9th February 2024 , poet and friend,  Pip Griffin led a very enjoyable and informative morning,
as U3A speaker for the month, at the Leichhardt Library.  Pip shared with us the unfolding of  her writing life, the challenges of writing a verse novel and with a vivid and colourful set of slides took us through the inspiration and process of writing three of her many books.  There was a great gathering of more then 30 people who came to support and hear Pip’s very interesting journey.  And we had a great celebratory lunch afterwards with some friends to cheer Pip’s very successful morning.

 

Pip introduced us to her earlier and highly acclaimed verse novel Ani Lin: The Journey of a Chinese Buddhist Nun.  The slides of her actual journey in China and on the edge of  Tibet where she found the inspiration for her Buddhist Nun were excellent and she thanks her son John for his assistance in this. 

As the dust jacket informs its readers: “In 1892, 18 year old Lin enters a mountain nunnery, where she begins a journey that will take her on a difficult spiritual and physical path.  Her dream is to work for equality for women in the Buddhist world.”  In her Afterword Griffin announces that this is an imaginary tale: “In 1874, my imaginary nun, Lin, was born in a village near Yunnanfu (capital of Yunnan Province and renamed Kunming in the 1920s).  She died in 1939, the year I was born.  Her story was conceived in 1985 when I first travelled to Guilin (Guangxi Province) and experienced feelings of déjà vu in the spectacular karst landscape.”

Pip’s opening poem “Coming home from the market” exemplifies the ethos behind the poem novel as she introduces the young girl to her readers:

 I ride my bicycle
 on the bumpy road
 through hazy landscape
 patchwork gardens illuminated
 by the setting sun
 stacked mountains layered
 against orange sky
This is a work laden with possibilities that result out of an engagement with people, places and landscape, real but also mythically-charged.  And as her reviewer, Patricia Prime, wrote a little while back.

“The journey is beautifully evoked by Griffin as the girl traverses rivers, mountains, sacred peaks, sanctuaries and a visit to the Mu household where, in the poem “Visiting the Mu household” “Prince Mu has asked us / to take tea with him.”

Griffin’s poem novel is activated by small moments unfolding from the fragments of daily minutiae: a sense of miracle, bliss is localized, transcendence is brief and raw, insight comes from focusing on the elements of Lin’s journey, the playing of her flute, wandering in the lamasery garden, meditating, eating and drinking. “ 

Next Pip spoke of her research and writing  of  her verse novel, Margaret Caro : The Extraordinary Life of a Pioneering Dentist, New Zealand 1848-1938.  This is the story of her great aunt  and  pioneer in New Zealand, first female dentist in NZ, a convert to Seventh-day Adventism  and social reformer . A towering figure she and her husband  Jacob (a Physcian )  worked in many difficult places including in NZ goldfields .

Lastly Pip spoke of her highly acclaimed and award winning verse  novel, Virginia & Katherine: The Secret Diaries  . It is well summed up in the following from the SWW web site.

… K & I had our relationship, & never again shall I have one like it – Virginia Woolf, October 1924
In January 1923, Virginia Woolf noted in her diary that Katherine Mansfield had promised two years earlier to send her diary to her. She was perplexed and hurt that she had not, not knowing how ill Katherine had been. The ‘secret diaries’ – Virginia’s begun after Katherine’s death in 1923, Katherine’s begun in 1920 are written in lyrical poems inspired by the friendship (and intense rivalry) of the two women. Virginia and Katherine recognised that they were ‘both after the same thing’ in their compulsive, innovative work of ‘writing their lives’.  The book presents a fresh dialogue that also suggests a tantalising possibility.
Pip Griffin, with meticulous research, creates biographical, poetical fiction that is fascinating and intriguing, filled with wonderful quotes and speculation. A pleasure to deeply dive in – jenni nixon, poet
Publisher: Pohutukawa Press
ISBN:  9780980318456
AUD 20.00 plus postage available from:
The author pipgriffin8@gmail.com
Wheelers Book www.wheelers.co.nz
James Bennett Pty Ltd www.bennett.com.au

 

1.Ani Lin: The Journey of a Chinese Buddhist Nun, Pip GriffinPohutukawa Press, Leichhardt, N.S.W. 2014, Australia.  

2.Margaret Caro : The Extraordinary Life of a Pioneering Dentist, New Zealand 1848-1938.  Pohutukawa Press, 2020

3. Virginia & Katherine: The Secret Diaries   Pohutukawa Press, 2021

 

 

REVIEW of The Dinner Party: A poetic response by Denise O’Hagan

The Dinner Party:  A poetic response by Colleen Keating (Ginninderra Press 2023)  reviewed by Denise O’Hagan

. . . we revive your memory

and honour you  . . .

You chose to be empowered

before women were visible.   (p.46)

These lines, addressed to Marcella of Rome, epitomise the spirit behind Keating’s latest collection, The Dinner party. A poetic response, released by Adelaide-based publisher, Ginninderra Press. During the course of its 144 pages –  substantial by poetry book standards – Keating fleshes out some of history’s most gifted and courageous women, rescuing them from the obscurity and oppression to which ‘patriarchy’s wilful effort’ has traditionally consigned them, and restoring them to centre stage.

The book is a poetic response to the iconic art  installation by American feminist artist, Judy Chicago (created 1974-1979), of a large triangular dinner table set for, and dramatically commemorating, thirty-nine influential women drawn from history and mythology.

The poet’s attentiveness to the installation is clear: she structures her book into three ‘wings’, representing three eras from the ancient world through to the beginnings of the women’s revolution, each of which is devoted to thirteen women from areas as diverse as the arts and activism to medicine and music.

The women are vividly evoked in all their multilayered complexity. We meet the ancient Mesopotamian goddess Ishtar, known for her jealous nature as much as for her embodiment of love and fertility, whose

‘honeyed mouth
turns venomous at a whim’,

revolutionary artist Artemisia Gentileschi, 
‘a Baroque prescience of women’s advocacy’

who was lost  to history for 400 years’ and women rights activist Mary Wollstonecraft, whose voice

‘was a luminous candle
in a darkness of patriarchy.’

These imaginative recreations are complemented by notes on the background of each woman, and a detailed bibliography.

This is a powerful yet sensitive breathing of lyrical life into significant historical women, and an eloquent contribution to feminist literature. As its author points out

’The challenge is ongoing. There are still many injustices enacted against women. Domestic violence is at an all time high.’

The table is set, the dinner party poised to happen – and the book places us on the cusp of what promises to be a spirited dinner party!

I would urge you, the reader, to take up Keating’s invitation to immerse yourself in this remarkable collection and in so doing, honour the women ‘on whose shoulders we stand’.

To purchase The Dinner Party

https://www.ginninderrapress.com.au/store.php?product/page/2891/Colleen+Keating+%2F+The+Dinner+Party%3A+A+poetic+response

or please order from your favourite online seller: print or ebook.

About Denise O’Hagan  Editor and writer

Born and raised in Italy, Denise lived in the UK before emigrating to Sydney, Australia.

After completing a Masters in Bibliography and Textual Criticism at Leeds University, she worked as an editor with various publishing houses including Collins, Heinemann and Routledge in London, and Horwitz Educational and Cambridge University Press in Sydney, where she was also consulting editor with the State Library of NSW.

She set up her own imprint Black Quill Press in 2015 to publish her late mother’s books: Jerome & His Women (2015), shortlisted for the Institute of Professional Editors’ Rosanne Fitzgibbon Editorial Award (the ‘Rosie’), and a second revised edition of A Roman Death (2017), originally published by Macmillan. Her poetry is published widely in Australia and internationally. Recipient of the Dalkey Poetry Prize, she has also been shortlisted in various awards including the Australian Catholic University Poetry Prize, the Robert Graves Poetry Prize (UK), the Plough Writing Prize (UK) and the Proverse International Poetry Prize (Hong Kong). She was Poetry Editor for Australia/New Zealand for Irish literary journal The Blue Nib until 2020. Her poetry collections include The Beating Heart (Ginninderra Press 2020), shortlisted for the Society of Women Writers NSW Book Awards 2022, and Anamnesis (Recent Work Press 2022), finalist in the Eric Hoffer Book Award (Poetry) 2023 and shortlisted in the International Rubery Book Award (Poetry) 2023.

THE EBOOK AND MAYBE SOME BOOK SALES MAY HAVE THE BOOK WITH THIS COVER.

It was the prevailing attitude in the 1960s that women had no history. There were no women’s studies, nothing.’ Judy Chicago, creator of the iconic art installation The Dinner Party.

The Dinner Party by the talented poet Colleen Keating brings to light, through beautiful lyrical poetry, what for centuries has been ignored: the power and strength of women. Very little has been made known about the lives of influential women of the past, as women’s lived experience has been suppressed, even erased from history. In this collection, the poet resuscitates the experience of women from prehistory to women’s twentieth-century revolution. Her poetry traces the lives of women who demonstrated their influence, in every field including philosophy, medicine, writing, art, astronomy, suffragists and justice warriors who fought for recognition. Women who gave their lives, suffered, broke barriers, knocked down walls, smashed glass ceilings, pried open doors, who defied patriarchy in some way for all of us. Still today as women are written into history, the struggle for our reckoning towards equality and respect continues. A must-read book that honours women; women who would not be silent.’ – Dr Beatriz Copello
‘With impeccable research and deep empathy, Colleen Keating continues her powerful poetic contribution to feminist literature with the celebration of thirty-nine of the more than a thousand women forgotten, marginalised or written out of Western history. A remarkable and beautifully imagined work.’ – Pip Griffin
978 1 76109 530 6, 144pp

 

 

 

Mozzie ed Ron heard, poetry journal

 

THE MOZZIE

Volume 31 Issue 03, October 2023

The Mozzie is a small press poetry magazine published in Queensland that publishes the work of established and emerging poets.   Ron Heard is the very dedicated editor. Volume 31 ssue includes 2 poems of mine.  I submitted to the magazine during the year and love it when a poem of mine gets chosen to be published.

MozzieOctober 2023, published two of my poems,

counting summers

morning litany after the referendum

It was very rewarding to be in the journal with a writer friend and supporter Pip Griffin.

Pip’s latest book Opus: A life in poetry is promoted and a poem from her new book is published.

Congratulations Pip Griffin.

Thank you to Ron Heard for his dedication to poets and our poetry. 

morning litany  after the referendum

air tastes brittle         hits hard                    
there has been no rain for weeks 

leaves   dusty and bluish 
curl in foetal positions 

caught 
in a Philip Glass time warp 

the antiphon of morning birds 
is devoured by a leaf mulcher

roaring hungrily nearby
the tree out the back sacrificed

 because someone said it was dead    
lies weeping    cut up in small offerings

birds that nested in its knotted hollows
have fled 

and I have  to turn away from
being a witness 

away from tv images 
Gaza Ukraine Mali Israel

garish glint of metal and concrete mock
new home units towering out of place

the riff of rivulets in Coups Creek muted
in welled-up rock crevices   

later   leaning into the warm dimpled trunk
of a doyenne of the bush  I watch a flock

of spotted pardalotes   their tiny pieces of sun
wild and cheerful  skittle the day

 

Opus: A life in music by Pip Griffin

 The award winning poet Pip Griffin delighted me with one of the first copies of her new poetry collection,

Opus
A life with music

Using a creative metaphor, I am proud to say I was one of the midwives in its  creative  growth and  Pip’s  birthing of the book.   The joys and nurturing of music in our lives  always came through as Pip’s poetic ideas grew .

A  great combination of life and music, a mood and a mode,  a singular voice,  that draws her readers like me to each new poem she writes. 
I am thrilled for Pip and honoured to be her friend.
 Opus: A life with music is a stunning collection, beautifully written and withheld.’ – Libby Sommer
‘“Through music, we can say what we didn’t even know we felt.” – Ed Le Brocq. What more powerful way to reflect on your journey of life than entwined with the memory of music. Exquisitely wrought, Opus gives us snapshots, sometimes softened, sometimes shocking but always honed and beautifully crafted, revealing a deep perception and intimacy as we have come to know of Pip Griffin’s poetry.’ – Colleen Keating
‘Pip Griffin’s Opus is a gently written verse memoir of her childhood in New Zealand to her mature years in Australia. References to Chopin, Mahler, Gustav Holst, Elvis Presley and many others justify its subtitle, “a life with music”. Touches of sadness, including her partner’s death and her mother’s thwarted dreams, balance the collection’s positive tone. This is poetry to read over a few winter evenings by the fire or summer afternoons in the shade of a tree.’ – Norm Neill
Opus is Pip Griffin’s eighth poetry publication. Her books include Virginia & Katherine: The Secret Diaries (Pohutukawa Press 2022), Winner, Society of Women Writers NSW Book Awards (poetry) 2022; Margaret Caro, the extraordinary life of a pioneering dentist (Pohutukawa Press 2020) Highly Commended, Society of Women Writers NSW Book Awards (poetry) 2020; Mood Indigo (Picaro Poets 2019) with Colleen Keating and The Climb Back: poems for Ted (Ginninderra Press 2021).
Two of Pip’s poems Libertango and The Dave Brubeck Quartet were published in the  recent
Women’s Ink,  Autumn 2023
       

Libertango

One winter’s evening
in an old asylum’s grounds
there’s a hub of warmth –
coffee, conversation, music

where a diminutive young woman
dances her bow across her double bass
syncopating with guitar
playing the Libertango.

They have the audience –
folk followers, musicians
poets, singers
maybe even shades of troubled souls

clapping, tapping their feet
swaying, smiling
surrendering their bodies to the seductive beat
of a sultry Buenos Aires night.

Pip Griffin

The Dave Brubeck Quartet

At twenty she shares a flat with friends
in half a house that clambers up the hill in Thorndon

adds a Brubeck record to her Bach and Brahms
buys a ticket to his Town Hall concert

and sits alone amongst expectant fans
taut as drum skins begging to be played.

Brain on fire with crooked rhythms
her body jitterbugs to teasing riffs

the dry martini saxophone stirs her spine
dizzying drumming pummels her solar plexus

and there is Brubeck – bespectacled face beaming
striding syncopated chords across the keyboard.

Pip Griffin

available through ginninderrapress/our books

978 1 76109 570 2, 86pp

Versions

Paperback

9781761095702
$22.50
 Pip is waiting for reviews of Opus: A life in music  but I share one early,  very special response from a friend that was one of the first readers of Opus and found it an enrichment to her life. What more beautiful words can one say.
Then, along comes Opus. Start to read. Read, read, read to the end. Close the book. Hold it in my hand. It’s like a living, breathing thing. Reading Opus has left me with the distinct impression I’ve been allowed into my dear friend’s inner circle.
The music references are genuinely intertwined with the sensuousness being evoked, and the life’s chapters being retold. 
If I can get to particulars, dear Pip, it’s the frankness about your childhood, teenage life, distant siblings, old and troubled parents, that infuses your writing with such authenticity. My family experience was similar in some aspects, but I could never write about it in such an honest way. The music accompanying each chapter brings enrichment to the experience of reading your words, and moves the story of your ‘life with music’ along at a healthy pace, and carries the reader with you.
I’ll treasure your Opus, Pip, so thank you for your gift.

The Dinner Party: A poetic response by Colleen Keating , Authors Talk at SWW

Very proudly I spoke at the NSW Society of Women Writers Monthly Meeting  at the State Library to introduce my new poetry book The Dinner Party: A poetic Response, which  responds to the 39 women claimed as part of a project to Restore Women to History by  American artist Judy Chicago in her installation The Dinner party. A collection on the poetry of women!
I felt I was honouring the thousands of women on whose shoulders, we as woman today stand.  Only 39 could  be at the dinner table but not forgetting the many who went before them to make our lives as we have them today with the names of another 999 women’s names written on the white tiles below the table.

Not forgetting there is still much to be done  as I hear the news this morning  that another woman died at the hands of a man she knew . I think it is 4 this week so far and it gets a brief mention. My poem Counting Dead Women  written a few years ago is sadly still relevant today.

 

RESTORING WOMEN TO HISTORY.  My talk to introduce my new poetry book The Dinner Party: A poetic Response at the Society of Women Writers, NSW State library,   July Meeting  in Poetry Week

Ah we have gathered . .  like Sappho the poet once said,

“The moon appeared in all her fullness and so the women took their place around the altar” 

We could say,

The second Wednesday of the month came around and so we woman gathered to listen and tell our stories.

It is good to be with you today in Poetry week and to share with you a little about my new poetry book.  The Dinner Party: a poetic response.

I came across the idea for the book while I was researching for my Hildegard book back in 2015 and I found reference to Hildegard in this amazing artistic installation by Judy Chicago which is a 1978 landmark permanent installation in the Brooklyn Museum in New York . . . an imaginary dinner party of women down the ages who had been ignored, denigrated, harmed, silenced or erased from history and I thought one day I would like to know more about its history..  It was about RESTORING WOMEN TO HISTORY.

Most of the women  at this dinner party, i had not even heard of.    Each woman was chosen, for  how  in their own way  they had helped the  rewriting of history and upending the dominance that men have held over so much of our culture.  I was proud to see Hildegard there for those of you who have read my book Hildegard of Bingen you know the monks  forbad her to speak out or to write  or preach. And  what a woman she proved to be  in her 82 years writing books, music, poetry then silenced again for nearly 800years by the Church and now restored she speaks with great relevancy for us today in 2023 . . .  844 years, after her death . It just shows a good woman cannot be silenced forever. 

Even in death the women in this book can still be heard. 

Hence  my effort,  my research  in 2021-2022, for this book The Dinner Party which brings to light many women long lost from history and on whose shoulders we stand. 

Women all first  in their fields , art, music, medicine, writing, astronomy,  philosophy even warriors like Boadicia,  the many women  throughout history who  broke down barriers,  opened doors, knocked down walls,  smashed glass ceilings, were  suffragettes,  jailed,  murdered, midwives burnt at the stake for their feminine ways. The journey of women is for all of us.

I would like it to be a book known  for reclaiming  women’s history. I’m hoping you see it as an interesting gift for your daughters,  and our granddaughters to know some of the struggles of women in the past.  There is a saying “we need to know our past to inform our  present,  to live vibrantly into the future.  And books like The Dinner Party  and many others today can help with this.   

Just a few notes about the exhibition which my poetry brings to life . . .It is a very formidable exhibition. It was 5 years in the making (1974 -1979) and the product of a volunteer labour of more than 400 women, and is a testament to the power of feminist vision and artistic collaboration.

As you see here  it is a triangular banquet table each side of 15 metres  has place settings for 39 women  ….  women down the ages of the 3,000 years of Western History.  13 women  from Mythical and Biblical times 13 women  from the 1st millennia  and 13 from the 2nd millennia   and below there are 999 triangular tiles  with the names of women who stood up in their time. If i was younger I would now be writing stories of strong women of  this 3rd millennia  but I do not feel the same imperative as today many women are writing from First nation women  many ethic groups of women and our work is no longer an anonymous story.    It is  ongoing . Hopefully these stories and poetry of women will continue to be told. 

Imagine getting off the lift on the fourth floor into an 8,300 square feet space. One walks  past  six woven tapestries, hang in procession and is led into a sacred, solemn encounter with the female form. They say it takes your breath away and is beyond words.  The purpose-built gallery commands a certain hushed reverence; its triangular, feminine form is echoed on the ceiling, the entrance, and in the delicate casts of shadow and light.  

Each woman commemorated at the table is designated a place setting. A china-painted plate with a signature motif based on butterfly, flower and vulva forms is placed on an embroidered runner, with their name and icons of their personal and historical story.  A gold ceramic chalice and utensils, a napkin with an embroidered edge. The textile,  the craft, needlework and ceramics  acknowledge the long and interwoven history of women’s accomplishments and success in restoring women’s heritage to our culture.  The place setting are just close-up of a few to show you the detail

Judith, from the bible. 
Sappho,  the poet who wrote the first love poetry in a time when only wars and heroic journeys were versed like The Illiad, The Odyssey. 
Susan B Anthony  who said women would not be taken seriously till they had the right to vote and she gave her life to it and sadly died before it came to fruition.  

But writing my poetry I liked to imagine arriving at a dinner party, the buzz of women from all over the western world and all down the ages, colourful fashions, cultures, languages and imagine the sizzle and aromas of foods and the swapping of recipes, ideas, hints and stories. Just think of the after-parties as each spreads the word to celebrate unsung women back in their places right up till now, for women still  today are having to put themselves on the line, call out treatment and celebrate their steps forward as they claim women’s rights as human rights.

like Aspasia,  a philosopher as clever as Aritotle and Plato but her salons of Greek women were denigrated as brothels, 
like Anne Hutchinson expelled  into the wilderness from the early church in Puritans times of early America, pregnant left to die because she insisted women have a voice at Church 
like Sacajawea who was captured to help Lewis &Clark open up americas west , without her they would’ve died and she was unpaid and ignored until the past few years of  research and recognition, 
like Hypatia  a neoplatonist scientist murdered  because the church felt threatened by her intellect,  
and Petronilla first Irish woman to be burned at the stake because she helped women with herbs in labour. 
and Christine de Pizan  a writer who was silenced , because  she was a dangerous woman  when she claimed   ‘The same race as men are women. It is a women’s  world too”
Susan B Anthony who fought all her life to get a vote for women  and died before it was realised,  

Be honoured to be included, and be humble that we are here  today , together, free, for we stand on the shoulders on those who have gone before.  Pause to remember  your mothers  – you might never fully know her struggles and your grandmothers as their lives were hard if they wanted to speak up, desire to  study, want freedoms, want property right to their children from their husband and  think of your great, great grandmother many then were illiterate    We are here now because of these woman.

In this  next slide you can see a close up of the tiles representing 999 other women down the path of history who worked in their time of history and their individual fields o be free

Margaret Sanger who was one  of the earliest warriors for the right to birth control for women saving “every woman can decide for themselves ‘ but what vigilance women still need for the fight for the right over her own body never ends  

Natalie Barney died 1876 -1972 “Destiny made us women at a time when the law of men is the only law that is recognised   

Judy Chicago’s wrote in 1978 words that still stun with its relevance today:

“Women have always made a significant contribution to the development of human civilisation, but have been  consistently ignored, denied, or trivialised.” 

Place setting of Artemisia  she once said “ I have the spirit go Caesar and the soul of a woman”

1.The needle work is exquisite. The illuminated letter “A” on Gentileschi’s runner is comprised of an artist’s paintbrush and palette, representing her life as an artist.

The plate is surrounded by rich and luscious velvet fabric, modelled on the costumes of Gentileschi’s female subjects. Chicago explains that this fabric nearly engulfs the plate, representing the safe, protective environment she came from.

Underneath the velvet there is fabric decorated in a repeating Baroque-style pomegranate motif, indicative of the time period in which Gentileschi painted. 

2. ceramics

The butterfly image of Gentileschi’s plate demonstrates  the dramatic play of light and dark  of the art periodThe “twisting and turning form” on the plate serves also to represent the “extraordinary efforts required of any women of [Gentileschi’s] time who desired to become an artist”.

And each one of the place setting is so historically detailed.

Now,  today,  this book is a poetic response to the journey of women. I like to think of each oneat the table,  just like us here gathering together, leaning into the conversation, nodding their affirmation as they celebrate their stories, their struggles and triumphs, and the moment of togetherness.   which we work to bring here now with us together . I like to think of The Dinner Party as a worthy read. To know of these 39 women and to realise the thousands of others from all our cultures.

I hope I encourage you to read it . . You can open it anywhere and read a poem about a woman who once lived and believed by her actions one day women will do much for each other and for the world. 

her. 

To me it is a precious book.  And it is only a window into a wider world of Restoring Women to History but an important window.

One last quote which is not aimed at us as we are privileged women but to so many women in Australia suffering DV and poverty

 women all around the world  in fear of war, slavery, hunger.  A quote from Arundhati Roy

Another world is not only possible, she is on her way. On a quiet day I can hear her breathing.

I feel this puts the responsibility onto us gifted women to continue the brave work at all times to make this happen .

And then thanks to my friend Pip Griffin who helped me unwind and celebrate by sharing a wonderful pavlova  and Champagne down by the harbour, relaxing watching the ferries come and go and listening to a Chilean musicain play a very melodic harmonising  hand drum .

The Dark Emu Story: Another chapter in my story with Bruce Pascoe & Dark Emu

   

 

Allan Clarke’s The Dark Emu Story, produced by Blackfella Films
(First Australians, Redfern Now), delves deep into the controversy,
enlightens our understanding of Australian history and provides a platform
for First Nations peoples to share their story.

 

 The DARK EMU Story is a phenomenon.
The book,  Dark Emu by Bruce Pascoe has sold more than a quarter of a million copies,
received multiple awards and is one of the best-selling books of its kind.

A thought provoking, revelatory and inspiring documentary

challenges Australia to rethink its history and ignites a raging debate.
The 2014 best-selling book makes explosive claims that First Nations people
were not only hunters and gatherers but also farmers who were part of a complex
economic system.

Inspired by the journals of British explorers, Pascoe prosecutes
the contentious argument that First Nations people settled in villages,

devised extraordinary methods of aquaculture and astronomy

and were the world’s first bakers. The author’s compelling narrative

smashes the orthodoxy and turns the view of ‘traditional’ Aboriginal life

on its head.
But Dark Emu ignited a fierce debate, sparking searing criticism.

Academics and conservative commentators lined up to scorn Pascoe’s work

and question the knowledge of the First Australians. Amidst the storm,

a public war of words then swirled over the Aboriginality

and identity of Pascoe himself. One review wrote:

As questions arose over the merits of the contents of the book,
old questions re-surfaced about the authenticity of the author Bruce Pascoe.
In this feature documentary, we will delve into this search for identity,
and in so doing spark yet more conversations about where we might be heading
as a nation. The documentary will also be a platform for First Nations people
to tell their own stories about their deep past. How new discoveries
are shedding light on who their ancestors were and how they survived
and prospered for at least 65,000 years on the most arid continent
on earth.

 

Besides being at the movie and participating in the Annual Film Festival,

I  enjoyed being in the Stste Theatre taken in by the wonderful restoration.

I think it holds about 2.000 people and it was great to see the many hundreds of people,

many young, enjoying the last weekend of the Sydney Film Festival.

Allan Clarke’s The Dark Emu Story, produced by Blackfella Films
(First Australians, Redfern Now), delves deep into the controversy,
enlightens our understanding of Australian history and provides a platform
for First Nations peoples to share their story.

Thanks to my friend Pip Griffin for encouraging me to get into the city and met her for the movie.

A very proactive  afternoon with Pip on poetry beforehand.

 

 

Some of the wonderful designs in the State Theatre. It was an experience to just enter the theatre.

   

And a standing ovation for Bruce Pascoe

 

The Dinner Party by Colleen Keating is available now from Ginninderra Press

ginninderrapress.com.au /books  and scroll down to The Dinner Party

  A POETIC CELEBRATION 

      OF WOMEN IN HISTORY

                        WHO DEFIED SILENCE

A poetic CELEBRATION of THE PASSION AND SPIRIT OF WOMEN 

    ON WHOSE SHOULDERS WE STAND

This  DINNER PARTY IS NOT JUST A GATHERING, A CELEBRATION

IT IS REWRITING HISORY. 

Recorded history abandoned women and they abandoned history leaving it motherless and unbothered

This is part of the long journey to reclaim the feminine in our worldly story. Then and only then might we turn this 21st  century around 

‘It was the prevailing attitude in the 1960s that women had no history. There were no women’s studies, nothing.’ – Judy Chicago, creator of the iconic art installation The Dinner Party, 2017
The Dinner Party by the talented poet Colleen Keating brings to light, through beautiful lyrical poetry, what for centuries has been ignored: the power and strength of women. Very little has been made known about the lives of influential women of the past, as women’s lived experience has been suppressed, even erased from history. In this collection, the poet resuscitates the experience of women from prehistory to women’s twentieth-century revolution. Her poetry traces the lives of women who demonstrated their influence, in every field including philosophy, medicine, writing, art, astronomy, suffragists and justice warriors who fought for recognition. Women who gave their lives, suffered, broke barriers, knocked down walls, smashed glass ceilings, pried open doors, who defied patriarchy in some way for all of us. Still today as women are written into history, the struggle for our reckoning towards equality and respect continues. A must-read book that honours women; women who would not be silent.’
Dr Beatriz Copello
‘With impeccable research and deep empathy, Colleen Keating continues her powerful poetic contribution to feminist literature with the celebration of thirty-nine of the more than a thousand women forgotten, marginalised or written out of Western history. A remarkable and beautifully imagined work.’  – Pip Griffin
978 1 76109 530 6, 144pp

Versions

Paperback

9781761095306
$27.50

The Dinner Party A poetic response by Colleen Keating

Exciting news . . I am thrilled and excited that my new book The Dinner Party  A poetic response is finally up on Ginninderra Press website and can be pre-ordered . . .to be released on May 1st . A long journey to birth this new book but finally I have the first copy in my hand. Grateful to so many people and thanks to Stephen Matthews OAM and Ginninderra Press and to Michael and many poet friends.

 

The Dinner Party by the talented poet Colleen Keating brings to light, through beautiful lyrical poetry, what for centuries has been ignored: the power and strength of women. Very little has been made known about the lives of influential women of the past, as women’s lived experience has been suppressed, even erased from history. In this collection, the poet resuscitates the experience of women from prehistory to women’s twentieth-century revolution. Her poetry traces the lives of women who demonstrated their influence, in every field including philosophy, medicine, writing, art, astronomy, suffragists and justice warriors who fought for recognition. Women who gave their lives, suffered, broke barriers, knocked down walls, smashed glass ceilings, pried open doors, who defied patriarchy in some way for all of us. Still today as women are written into history, the struggle for our reckoning towards equality and respect continues. A must-read book that honours women; women who would not be silent.’

– Dr Beatriz Copello

‘With impeccable research and deep empathy, Colleen Keating continues her powerful poetic contribution to feminist literature with the celebration of thirty-nine of the more than a thousand women forgotten, marginalised or written out of Western history. A remarkable and beautifully imagined work.’

– Pip Griffin

Vale Robert Adamson May loving arms hold Juno through this time

December 18th 2022

Vale Robert Adamson.

One of Australia’s great poets and  poet of our Hawkesbury River. An inspiration to so many of us. My friend  asked me to share this poem with all who mourn his loss. She wrote it in 2013 when she was reading on a platform with Robert. She sent it to Robert and he replied with his thanks and affirmation. Now our love focuses on dear Juno for the empty space will take time to reconcile.
Enjoy Pip’s poem:
The poet redux
(for Robert Adamson)
Love is what he’s about
this gentle man
who draws birds
writes poems about them
and the woman
who told him once
to choose between
the drugs and her.
Whatever he was then
she could see
the love in him.
He gives it now to us
words dancing
from his fingers
from his lips
and from his generous poetic heart.
©Pip Griffin 22 September 2013
Clear Water Reckoning
I write into the long black morning,
out here on the end of the point,
far from my wife in Budapest –
as the river cuts through a mountain
in Sydney a poet is launching
his new volume Under Berlin
and I feel like Catullus on Rome’s edge
but this passes and I turn to face
the oncoming dawn, the house
breathes tidal air as the night
fires outside with barking owls,
marsupials rustling, the prawn bird
beginning its taunting dawn whistle;
I burn the electricity
and measure hours by the lines –
I have strewn words around the living room,
taken them out from their
sentences, left them unused wherever
they fell; they are the bait –
I hunch over my desk and start to row,
let the tide flow in, watch
the window, with the door locked now
I wait – hear satin bowerbirds
scratching out the seeds from bottlebrush.
Dawn is a thin slit of illuminated
bowerbird blue along mountain lines,
in this year of cock and bull
celebration the TV goes on unwatched
upstairs, I hear it congratulating us
for making Australia what it is –
the heater breathes out a steady stream
of heated air – I go deeper
into my head, I see the Hawkesbury
flowing through Budapest, the Hungarians
do not seem to mind, they are bemused,
the river parts around their spires and domes,
I see other cities, whole cultures
drawn from territories within,
though with this freedom
comes a feeling of strange panic
for the real; so I get on
with it, writing out from this egg
holding my thought in a turbulent knot,
a bunched-up octopus. I steer
away from anything confessional,
thinking of Robert Lowell crafting
lines of intelligent blues,
his Jelly Roll of a self-caught mess
deep in spiritual distress.
Outside the river pulls me back,
shafts of light disintegrate into clues,
flecked symbols shine with order –
the bowerbirds have woven colour
around the house, through
bushes blue patterns of themselves
traced about the place; half
the moon can topple a mountain,
anything is possible here
I remind myself and begin to hum,
flattening out all the words that were
impossible to write today. I hum
out all the poems I should have
written, I hum away now also
the desire to write from memory –
there is enough sorrow in the present.
I look out over the incoming tide, dark racks
of oysters jut from its ink.
– Published in The Clean Dark 1989