This volume completes John Kinsella’s trilogy of critical activist poetics, begun two decades ago. It challenges familiar topoi and normatives of poetic activity as it pertains to environmental, humanitarian and textual activism in ‘the world-at-large’: it shows how ambiguity can be a generative force when it works from a basis of non-ambiguity of purpose. The book shows how there is a clear unambiguous position to have regarding issues of justice, but that from that confirmed point ambiguity can be an intense and useful activist tool. The book is an essential resource for those wishing to study Kinsella, and for those with an interest in twentieth and twenty-first-century poetry and poetics, and it will stand as an inspiring proclamation of the author's faith in the transformative power of poetry and literary activity as a force for good in the world.

Fishing for Lightning gathers together acclaimed poet and critic Sarah Holland-Batt's celebrated columns on contemporary Australian poetry. In fifty illuminating and lively short essays on fifty poets, Holland-Batt offers a masterclass in how to read and love poetry, opening up the music of language, form, and poetic technique in her casual and conversational yet deeply intelligent style. From the villanelle to the verse novel, the readymade and the remix to the sonnet, Holland-Batt's essays range across the breadth of contemporary poetry, but also delve into the richness of poetic and literary history, connecting the contemporary to the ancient. Dazzling in its erudition, but always accessible and entertaining, Fishing for Lightning convinces us of the power of poetry to change our lives.

This volume investigates Australian poetry's centrality to debates around colonialism, nationalism, diversity, embodiment, local-global relations, and the environment.

This book sets out to navigate questions of the future of Australian poetry. Deliberately designed as a dialogue between poets, each of the four clusters presented here—“Indigeneities”; “Political Landscapes”; “Space, Place, Materiality”; “Revising an Australian Mythos”—models how poetic communities in Australia continue to grow in alliance toward certain constellated ideas. Exploring the ethics of creative production in a place that continues to position capital over culture, property over community, each of the twenty essays in this anthology takes the subject of Australian poetry definitively beyond Eurocentrism and white privilege. By pushing back against nationalizing mythologies that have, over the last 200 years since colonization, not only narrativized the logic of instrumentalization but rendered our lands precarious, this book asserts new possibilities of creative responsiveness within the Australian sensorium.

An important literary memoir which views white settler family history against the impacts on the Indigenous people with whom they interact. Monument is poet and critic Bonny Cassidy’s fourth book. Moving seamlessly through genres in its recovery of the past — part poetry, part prose, microhistory, memoir, travel writing, and sometimes counterfactual speculation — it traces the complex consequences of colonial settlement across the generations of a White Australian family of mixed origins and ancestries. Following the threads and detours signalled by research, objects and testimony, Cassidy makes a case for the value of ‘collected memory’ against the tide of settlement and silence. Inspired by the methods of Natalie Harkin’s archival poetics and Katrina Schlunke’s Bluff Rock: Autobiography of a Massacre, Cassidy’s Monument considers how non-Indigenous Australians might absorb First Nations truth-telling; and what this means for acts of speech, and writing. Should our memories serve the living or the dead, the past or the present? Why do we need new monuments in Australia, and where should we expect to find them?

Illuminating their breadth and diversity, this book presents a comprehensive and multidisciplinary view of legal documents and their manifold forms, uses, materialities and meanings. In 1951, Suzanne Briet, a librarian at the Bibliotheque Nationale in Paris, famously said that an antelope in a zoo could be a document, thereby radically changing the way documents were analysed and understood. In the fifty years since this pronouncement, the digital age has introduced a potentially limitless range of digital and technological forms for the capture and storage of information. In their multiplicity and their ubiquity, documents pervade our everyday life. However, the material, intellectual, aesthetic and political dimensions and effects of documents remain difficult to pin down. Taking a multidisciplinary and international approach, this collection tackles the question, what is a legal document?, in order to explore the material, aesthetic and intellectual attributes of legal documentation; the political and colonial orders reflected and embedded in documents; and the legal, archival and social systems which order and utilise information. As well as scholars in law, documentary theory, history, Indigenous studies, art history and design theory and practice, this book will also appeal to those working in libraries, archives, galleries and museums, for whom the ongoing challenges of documentation in the digital age are urgent and timely questions.

The A to Z of Creative Writing Methods is an alphabetical collection of essays to prompt consideration of method within creative writing research and practice. Almost sixty contributors from a range of writing traditions and across multiple forms and genre are represented in this volume: from poets, essayists, novelists and performance writers, to graphic novelists, illustrators, and those engaged in multi-media writing or writing-related arts activism. Contributors bring to this collection their distinct and diverse literary and cultural contexts, defining, expanding and enacting the methods they describe, and providing new possibilities for creative writing practice. Accessible and provocative, A to Z of Creative Writing Methods lays bare new developments and directions in the field, making it an invaluable resource for the teachers, research students and scholar-practitioners in the field of creative writing studies.

This book is a collection of key legal decisions affecting Indigenous Australians, which have been re-imagined so as to be inclusive of Indigenous people’s stories, historical experience, perspectives and worldviews. In this groundbreaking work, Indigenous and non-Indigenous scholars have collaborated to rewrite 16 key decisions. Spanning from 1889 to 2017, the judgments reflect the trajectory of Indigenous people’s engagements with Australian law. The collection includes decisions that laid the foundation for the wrongful application of terra nullius and the long disavowal of native title. Contributors have also challenged narrow judicial interpretations of native title, which have denied recognition to Indigenous people who suffered the prolonged impacts of dispossession. Exciting new voices have reclaimed Australian law to deliver justice to the Stolen Generations and to families who have experienced institutional and police racism. Contributors have shown how judicial officers can use their power to challenge systemic racism and tell the stories of Indigenous people who have been dehumanised by the criminal justice system. The new judgments are characterised by intersectional perspectives which draw on postcolonial, critical race and whiteness theories. Several scholars have chosen to operate within the parameters of legal doctrine. Some have imagined new truth-telling forums, highlighting the strength and creative resistance of Indigenous people to oppression and exclusion. Others have rejected the possibility that the legal system, which has been integral to settler-colonialism, can ever deliver meaningful justice to Indigenous people.

Avant-garde poetry in the Antipodes causes all sorts of trouble for literary history. It is an avant-garde that seems to arrive too late and yet right on time. In 1897, Christopher Brennan made his own version of Un Coup de Des, the same year Mallarme published it in Cosmopolis. In the 1940s, the same period avant-gardism was declared dead or fatally injured due to the Ern Malley affair, Harry Hooton began writing a significant body of experimental poetry. From the 1950s to the 1970s, Australian Dada emerged 'belatedly' through figures like Jas H. Duke (Tristan Tzara had previously sung Aboriginal songs at the Cabaret Voltaire in 1916). First Nations and Migrant poets then began reinventing avant-garde poetry in the twentieth and early twenty-first centuries. This book maintains that such a confounding literary history poses a distinct challenge to the theories of the avant-gardes we have become accustomed to and changes our perspective of avant-garde time.

Albert Einstein said we can't solve problems by using the same kind of thinking we used when we created them. If we don't have the kinds of health and human services or even the kinds of lives, communities and organisations we want, then we need to think differently. Yoland Wadsworth offers an inspired insight and radically new proposition: that the act of our 'inquiring', of researching and evaluating together, is the way by which every living organism and all collective human life goes about continuously achieving the conditions for life. Building in Research and Evaluation explores this new approach for bringing about both wanted change and stability. By inquiring around 'whole cycles' of acting, observing, questioning, feeling, reflecting, thinking, planning and acting again, Yoland identifies how new life might be brought to what we do. 'Sound and persuasive, insightful, important and inviting. A great contribution' - Michael Quinn Patton, author of the best-selling book, Utilization-Focused Evaluation 'Brilliant. I'm not aware of any other book of this nature. The examples are impressive' - Linette Hawkins, social work educator 'I remain critical of 'systems' models and biological analogies for organisational processes, but this work is unquestionably original and in major ways innovative' - Raewyn Connell, sociology professor 'Highly original. an ambitious integration of concepts. Credible and useful. Grounded in pioneering empirical research' - Danny Burns, professor of organisational learning