Doppler Effect

"Stone Midden" Extract of transported heritage the deep-earth tap of old world fertility, heaped high over the cash crop, the lush astro-turf of the twentieth century, soil living on borrowed time, feigning health like a recently sanctified ritual. This cone of refuse stacked around a broken finger of rock, mockingly chthonic, landmark on a family property, a greying negative atrophied in recent memory. That we don't know what land it regulates, it suggests familiarity. From somewhere in the area. That despite its deep age that it might appear in any paddock, glowering over the florescent fall-away, or in high summer, emphasizing the indifference of the exposed topsoil. This last rubbishy petrification of old land, of thick scrub, of a lookout to survey the fruits of fire-stick farming.

Table of Contents:
SYZYGY RED SHIFT / BLUE SHIFT The Wanderers The Doppler Effect And The Australian Pastoral Terraforming Emending context flashfloods ICons: ab-sence Sparklers, Hawks, & Electric Trains The Bridge Twists Like a Mobius Strip: A Lyric Tide Table I-deletion in the avant-garde space polytype in-discrete-harmonics Inwards: the weather hydrography Natural Objects The Flowering A Small Tornado Unabridged Veracity {} The Mouth Ulcer or An Ode To Subordinate Clauses The Dome of Saint Paul's Cathedral ERRATUM/FRAME(D) Prologue Erratum anticlines: halus and kasar Every now & again thoughts of Bombay enter the heads of those in Bangalore Self-Portrait Without Glasses Poem As A Room A (C)ode for Simon Templar Beyond W. Eugene's Photographic Essay: "Life Without Germs" (Life, September 26, 1949) harbour, god ode From Westminster Bridge: The Thames &: red sonnet & I Visionary Dreariness Velcro (R) Night Seeding & Notions of Property Ornithology Skeleton weed / generative grammar Ruse UR-US Graphing The Tremors Of Narrative Placebo Starting With Delmore Schwartz's "The Self Unsatisfied Runs Everywhere" A Precursor To Syzygy Syzygy re:prise Tarot Frame(d) Appendices THE RADNOTI POEMS Eclogue On An Aerial Photograph Field Glasses Bluff Knoll Sublimity Aspects Of The Pagan Akbar Stone Midden Of Writing At Wheatlands Calendar: a continuous narrative The Rust Eclogues: Radnoti, Poetry, and The Strains of Appropriation Empire and Roundhouse A Zone Essay On Prohibition and Purity Poems Without Radnoti Radnoti Quarantine: Razglednicas THE BENEFACTION Prologue Passage One Passage Two Passage Three Epilogue GRAPHOLOGY (PROTOTYPE) Graphology: Canto 1 Graphology: Canto 2 Graphology: Canto 3 Graphology: Canto 4 Graphology: Canto 5 Graphology: Canto 6 Graphology: Canto 7 Graphology: Canto 8 Graphology: Canto 9 Graphology: Canto 10 SHEEP DIP ANNOTATIONS Annotations PRESSURE SUITE TILDE Pressure suit tilde notation Influences Marginalia "The rancid power of the continuum" Breathers Honest, Theocritus! Stain or Resonance in The Curve: A Hymn Naff or Language signifiers are fucking boring (lyric overlay for Beastie Boys number) re - meta - cascando or The First Anniversary ALTERITY from THE ECHIDNA PROJECT Echidna Amnesty Echidna Manifesto Quill Odour Echidna Photomontage THE CARS THAT ATE PARIS: A ROMANCE RECENT POEMS Transgenic Pig Ode Seed Ethics Graphology 8 - speech training and transcription Graphology 9 - a declaration andthe paper it is printed on Graphology 11 I unsubscribe why write no poetry more & Succor On the Absence of the Actual: Four Manifestations loy polloi love song Me: Down the Street, in the Park, 2000 Confessional without a tune Antidote Dark Eclipse

About the Author :
John Kinsella is the author of over twenty books, including The Hunt (Bloodaxe, 1998) The Undertow: New & Selected Poems (Arc, UK), Visitants (Bloodaxe, 1999), and Wheatlands (2000). He is editor of the literary journal Salt, consultant editor of Westerly, and international editor of The Kenyon Review. He is a Fellow of Churchill College, Cambridge University, Adjunct Professor to Edith Cowan University, Western Australia, and the 2001 Richard L. Thomas Professor of Writing at Kenyon College.

Review :
In Kinsella's poetry, it is precisely any settled difference between "traditional" and "experimental" that has collapsed. All poetic forms have become equally available for "experiment" to the extent that they can be tested for new soundings, new possibilities for meaning and its loss. -- Mark Wallace Tinfish John Kinsella ... frequently makes me think of John Ashbery: improbable fecundity, eclecticism, and a stand that fuses populism and elitism in poetic audience ... We are poised before the onset of what I prophesy will be a major art. -- Harold Bloom Kinsella's poems are a very rare feat: they are narratives of feeling. Vivid sight - of landscapes, of animals, of human forms in distant light - becomes insight. There is, often, the shock of the new. But somehow awaited, even familiar. Which is the homecoming a a true poet. -- George Steiner