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towards a poetry serving gaia he s also been working on some scraps of writing that mostly arise from with sculpture fingers in clay turns out to be a way of thinking these explore my sense of nausea sartre s word at the competitive success of homo sapiens derek motion is a writer phd candidate director of the booranga writers centre he was the winner of the 2009 judith wright prize and some of his recent work has appeared in going down swinging and overland he blogs at https typingspace wordpress com ross donlon lives in castlemaine victoria where he convenes a monthly poetry reading works as a writer in residence and mentors poets in regional victoria as part of the pure poetry program his poems have been published widely in australia and also in new zealand and the u s a his work has been broadcast on community radio and radio national s poetica he appears on the cd of a live reading you have been chosen he was selected to take part in the emerging writers festival in 2005 and has performed at poetry festivals in victoria south australia and in tasmania in 2009 here he won the launceston cup the premier spoken word event of the festival only the second mainlander to do so he will feature at the queensland poetry festival in august 2010 he was part of the five islands press new poets series in 2003 with tightrope horizon he established the series mark time books in castlemaine in 2009 using local artists designers and producers these high quality chapbooks have enabled a number of invited poets to have small collections available between book length collections his shh and other love poems and my ship are part of the mark time book series he has been awarded residencies at varuna as part of the 2009 dorothy hewett flagship fellowship award and in tasmania in july 2010 his current work in progress is embarcadero close reading forest hill 19 saturday jun 2010 posted by derek motion in uncategorized leave a comment this is surely a bad idea but southerly recently the most recent issue the website is unclear on this featured a part of john tranter s doctoral thesis in it tranter critiques his own work and so i read his critique perhaps thinking ah i can use this and i remember this opinion i think to a certain extent self critiquing is something every poet should do and i mean formalising a written response to yourself not simply thinking about a poem and editing so you and i we begin the critical position tranter takes however is not one that i am able to take he is in a rarefied position in this regard tranter looks to the version of himself created by the public reception of his work then creates a dialogue between this entity and the writing this thesis entity in this way he interrogates his own views and poetry it s a useful thing to do and i would hazard to say it makes sense to do it but i haven t got much of a public self out there one created by the critics i haven t published books i suspect most of the detail out in the world regarding my work has been written by me what to do keep writing the details i guess there is one review that mentions me i had a couple of poems in a small zine growling softly that came out of america it was reviewed by cynthia reeser in prick of the spindle and my name was mentioned here derek motion introduces playful movement with i can drive a poem that addresses a lover and conveys sweet infatuation that says i can be whatever you want without ever saying it directly then there s also this written by keri glastonbury in her judges report for the judith wright prize derek refuses to become a poster boy for regional poetics and his work is a rethinking of place and identity in an era mediated by the internet so the construct of derek motion in its entirety he is a poet who creates or can create a sense of playful movement with his writing but also he says things profoundly without ever saying them directly furthermore he refuses to be a regional poetics poster boy because he prefers to rethink the typical poster boy way of writing place a complex and compelling entity no dazzling as a beautiful rhythmic gymnast twirling the ribbon but simultaneously liminal maybe to interrogate this construct we must interrogate the prize winning poem it is a course of action foregone so how do the two objects compare the initial word of the poem proper tall might be describing the titular hill this would be an odd way to do so but not out of the question for the playful writer but then when we read on coming soon to now flattened grass directs me with the mixture of tenses in the piece pondering we ll everything was and now it becomes clear the first word refers back to the voice the self the past and present comingle and we might assume that tall refers to now the absence therefore is the short the younger self this poem is inviting us into a world of memory centred on a particular geography to have a stab at paraphrasing the poem i m here now larger than before look at what unravels in such an instance what unravels indeed the cobain chords so pasted to a specific time period because of the figure s demise some sort of dark hall perhaps all futures are but a sub genre of regression let s explore this the poem tries to position you in its locale vague as this may be by including you as a vital part of its imagery place place place it seems dr glastonbury might know her stuff after all but what sort of re think is involved in this atypical molding of young people the teens secure abreast stunted cherry limbs everyone is secure when gathered elsewhere it s not just an amorphous cluster of kids from a poet s boring past though you become one of them in the poem s attempt to generalise yes yes this is all so clichéd too but check the layering of the unoriginal thought that s where it s at this is a moment where we all question a growing emphasis internally and so we all do this right now it is a command perhaps one paralleling any simple command to the dog hey you reader embark on this peculiarly nostalgic form of questioning do it i command it worryingly the commanding register then seems to become a method the next stanza insists you shouldn t trust in lines which might mean the very lines you ve just ingested but then the poem continues on insisting insisting that you should insist more don t buy this poem insist that the poem goes this particular way summoning forth images the poet wanted to focus on anyway the arrogance is beguiling but you know somewhat playful we surmise at any rate that it s not meant to treat us disdainfully there s an underlying worry that appears authentic the boy we are forced to think of stands out not so much for any of the early 80s imagery stackhats or the abc arabesque one might assume is an obsolescence a test pattern he stands out because he is not yet worried the primal concern of this poem is a moment the moment when innocence becomes something other not experience just worry what relevance do the chunks of other moment have in such a context the experiential sexual clichés the fads even the words poken to you that you remember again and again for years attributing some life changing import to them these are symptoms of a change the boy that is not yet worried is idolised by this poem it isn t obvious though so we do have to discard truth as a tool of interrogation we can do this though it s not a problem the sections rendered in prose are only obvious in that they take on a more easily digestible syntax and logic the contemporariness of the half formed stimulus buildings is really only a backdrop a reinforcement of the now to the narrative within real or imagined the boy tall is editing the contents of his life the act of writing is the key here we see it dramatised as a tangible act a military strike on a school s time capsule and we admire this analogy its beauty and unusualness is something that might bring a russian formalist back to life but we also know need to question that cleverness what is being edited it seems the other raaf kids are not having any of their memories or perhaps letters to future older selves adjusted their work is being pulped their past existences are destroyed in an act of authorial vanity the only work edited is that of the sound byte boy therefore it doesn t really matter what hopes and dreams are contained within this time capsule all the poem tells us is that these words are not acceptable to the tall boy of now all is now emendation and gloss it may well lead one to wonder how can we then trust in any linguistic performance of any such child you don t have to worry though because the biggles like hero a hero only now after he has been successfully risked prosecution by raiding a school s grounds has brought you along for the ride your shadow creates unusual shapes in such a poem no doubt a pictorial representation of your edginess seeing as by this point you are almost certainly an unwilling participant in the ongoing perversity it s not really that funny you want out of this venture a venture that seems not to relate to your experience at all and therein lies the crux of a poetic experiment what does say living paradoxically perhaps the only thing that can say living that can gesture at some kind of shared existential experience via literature is the very stretch for connection not death nothing is that paradoxical i want closetoyouness in whatever form it exists if my me ness doesn t relate to your you ness then tell me seriously tell me over and over until something sinks into both of our fucking heads for always now the uncool ephemera of the past is definitely made into the always by an act of poetic now these accoutrements of a life a rendered permanent with repetition bic pen blow darts elle macpherson and the way people dressed in any certain stretch of time amalgamated into a close approximation are bonded to the i and you voice as if we all were filmed in some particular type of film stock that is now no longer available hard to replicate digitally stupid i know embarrassing even let s not even talk about touching all this pinpointing of ephemera does is to highlight what is an un locatable voice the poet writes i am awful disconnected and we agree both in the sense that his voice is terrible sentimental at best but also large largely disconnected from the reader and his own past we then summon up our own disconnection involuntarily wantonly ignorant of the principles of close reading and see the specious imagery goldfield souvenirs and the like as our own this poem is coming from a vantage of white purity the first person perspective is oh so valid precisely because it doesn t remain consistent this stance of omnipotence can offer us much do i want to become divorced unknown or do i want to search out the reasons for people living navigating abandoned stretches of suburbia where vital landmarks no longer exist except in some astral map wherein you have to simply believe the levels of intrigue still inhabit the associated mystery of who lives where of what their phone numbers are of what they are doing at any one point in time of course the reconciliatory we position all of us at any sort of general workshop it doesn t matter you may as well be unemployed and forced by centrelink to attend a daylong seminar on how to write an effective resume you may well be paying over 200 to learn about how to make a career out of poetry or more pointedly how to make it pay the setting is vague enough to be recognizable we can all sit there at this point in the poem establish a sense of ourselves listening to prepared reports scribbling various dates in various organisers electronic or paper based that is easy the tricky leap is whether or not we are prepared to accept a segue into a clichéd idea yes here we see a collective and personal us grown up and clam and adept at things now but underneath damn it if there still isn t something magical something we can t quite put our fingers on yawn underneath this there is a space there might be a reel to reel soundtrack there might be a background context of personal communication initiated in an irc chatroom context via your once favored downloadable client i ve lived through some time specific moments and so have you else you haven t and won t in which case we should talk but perhaps more correctly this is a negative space a virtual black hole where the smallest acts can contain a universe of import and there s that casual netball skirt whistle that is casual in execution but burgeoning with worrisome possibilities you think this derek motion has proven a slippery construct to locate the poem is our only evidence you should perhaps disregard all that right side column activity and within the work the figure of poet constantly seeks to draw you into the poem s perspective but also then alienate you from it without compunction if he is a poet who creates this sense of playful movement with his writing why is the movement so migraine inducing more like travel sickness i used to suffer this as a child i know what it s like than the piquancy of finally feeling la nausée or thinking you finally have and if he says things profoundly without ever saying them directly doesn t it stand to reason that what he has said would still be observable paraphraseable has this poem said anything beyond the already isolated and observed and clichés a complex and compelling entity no dazzling as a beautiful rhythmic gymnast twirling the ribbon but simultaneously liminal well that s just one example of his muddled language play he wrote that shit remember all in all the poet has probably only been found to be best represented by the space of the whistle a small notion that could contain lots of things like lots of words knowing these words is still paramount words that could then of their own volition form an artwork wistfully nostalgic for the alienation of times past comparing this bipolar feeling with the potent power graspable here in the contemporary now the edit this is the mediation of the era i should note that if you are in fact an advertising mogul looking for that ideal model for an upcoming campaign a campaign featuring a new product line along the lines of regional poetics please do get in contact with me i am your poster boy i will use your money for the good some will dispute this after the fact we will not worry link 15 tuesday jun 2010 posted by derek motion in uncategorized 3 comments my poem forest hill is now up for online reading i am currently reviewing the poem exhaustively the review will appear on this blog soon scan ahead 09 wednesday jun 2010 posted by derek motion in uncategorized 5 comments damn her impenetrable thoughts matronly ambling across the 60 zoned thoroughfare domain 02 wednesday jun 2010 posted by derek motion in uncategorized 4 comments start with an image one of such quality that if it came rendered as a photograph you would blow it up and frame and hang on your wa...