Caitlin Maling's first collection is at heart a poetry of place. Cervantes, Donnelly River, Yallingup, Fremantle, Leonora, and beyond are richly evoked in poems ranging stylistically from accomplished mature lyrics and the confessional to narratives of raw power and feeling. Restlessly questioning and frequently allusive, slipping between promise and possibility, Maling's poems are invested in the actuality of the world, exploring the landscapes of memory and the brief moment of now.
Maling's new work is rich and diverse, exploring physical landscapes as well as historical and socio-cultural aspects of place. In her latest, deeply personal, collection Maling travels the coast of Western Australia writing about what the ocean provides—fish, livelihoods, sand and the ever-present sea breeze. In doing so she questions what poetry might offer by way of solace and reconnection in an age of climate change.
Caitlin Maling's second volume, Border Crossing, continues to showcase the development of an exciting new voice in Australian poetry. Now Maling's poems shift from the first volume's gritty treatment of childhood and adolescence growing up in WA, to a consideration of what it is to be an Australian in America, where the conflicting voices and identities of home and abroad jostle against and seek their definitions from each other. In this volume, as in the first, her emphasis on place – geography and environment – is as strong as ever.
At the Bottom of It, Pain Callie tries to give the fish a good death, short and sharp, severing the brain stem. Pithing - like the sound a cherry makes when you extract the pip. Some things are instinct like spitting out what cracks, hard, against your teeth, or how a fusilier in the net arches its whole body like a rictus grin when the fruit is sour. Fish Work brings the great barrier reef into poetic focus, exploring not just the fish that occupy the reefs but that vast variety of life-forms - including human - that make the reef a uniquely diverse environment. Developed over three years of field-work, during which time the poet lived and worked alongside marine researchers, Fish Work asks us to reconsider what it means to live with other beings, human and extra-than-human. Blending the language of scientific research with the language of popular culture and her familiar conversational register, Fish Work is unlike any other book of poetry currently available in Australia. This collection represents the first dedicated poetic investigation into the Great Barrier Reef in a time a climate change, paying particular attention to the far northern Great Barrier Reef, specifically Lizard Island Research Station where the poet spent several months over several years undergoing fieldwork with the scientific researchers in residence.
Caitlin Maling's first collection is at heart a poetry of place. Cervantes, Donnelly River, Yallingup, Fremantle, Leonora, and beyond are richly evoked in poems ranging stylistically from accomplished mature lyrics and the confessional to narratives of raw power and feeling. Restlessly questioning and frequently allusive, slipping between promise and possibility, Maling's poems are invested in the actuality of the world, exploring the landscapes of memory and the brief moment of now.
Maling's new work is rich and diverse, exploring physical landscapes as well as historical and socio-cultural aspects of place. In her latest, deeply personal, collection Maling travels the coast of Western Australia writing about what the ocean provides—fish, livelihoods, sand and the ever-present sea breeze. In doing so she questions what poetry might offer by way of solace and reconnection in an age of climate change.
Caitlin Maling's second volume, Border Crossing, continues to showcase the development of an exciting new voice in Australian poetry. Now Maling's poems shift from the first volume's gritty treatment of childhood and adolescence growing up in WA, to a consideration of what it is to be an Australian in America, where the conflicting voices and identities of home and abroad jostle against and seek their definitions from each other. In this volume, as in the first, her emphasis on place – geography and environment – is as strong as ever.
Caitlin Scarano's debut poetry collection, Do Not Bring Him Water, begins, 'as a child you don't ask yourself why you're hiding, / you just hide.' These poems bear witness to domestic trauma and the many forms it can take. In this collection, women escape knots of fishing wire, secret rooms behind radiator grates, hammers to the skull, vegetable gardens, howling houses, chains and chairs. Scarano orchestrates a strange, lyrical world where the lines between human/animal, male/female, past/future, guilt/innocence, and waking/dreaming blur with both visceral pleasure and danger. We are led through this world by a speaker who is attempting to both acknowledge and disrupt a history of violence and silence. Yes, perhaps 'no one is made / for anyone,' but love can still engender from loss.
Looking specifically at the Mexican city of León, in Guanajuato, the book shows graffiti as a contested tool for "voicing" public demands. It considers the changing perceptions and recognition of graffiti artists, their right to the city, and the use of public space from 2000 to 2018. Bruce studies the history of independent graffiti and state-sanctioned graffiti art to claim that its institutionalization creates tensions in the social relationships inside artist collectives, and fluctuating ideas about urban art, creative labor, and neoliberal entrepreneurship"--
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