Robert Adamson (1) (1943–2022)
Auteur van Inside Out
Voor andere auteurs genaamd Robert Adamson, zie de verduidelijkingspagina.
Over de Auteur
Robert Adamson was born in Sydney in 1943 and grew up in Neutral Bay and on the Hawkesbury River, New South Wales. From 1970 to 1985 he edited Australia's New Poetry magazine, and in 1988, with Juno Gemes, he established Paper Bark Press, one of Australia's leading poetry publishers. His many toon meer publications include sixteen poetry books, an autobiography, and two books of autobiographical fiction. He has won many awards, including the National Book Council's Banjo Award, The New South Wales Literary Award's Kenneth Slessor Prize, the Victorian Premier's Literary Award for poetry, and the F.A.W. Christopher Brennan prize for lifetime achievement in literature toon minder
Fotografie: Flood Editions
Werken van Robert Adamson
Poetry Magazine no 5, Vol 18, October 1970 1 exemplaar
New Poetry, vol 29 nos 1 + 2 1 exemplaar
Empty Your Eyes 1 exemplaar
Poetry Australian Poets 2 1 exemplaar
Goldfinches Of Baghdad 1 exemplaar
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Tagged
Algemene kennis
- Geboortedatum
- 1943-05-17
- Overlijdensdatum
- 2022-12-16
- Geslacht
- male
- Nationaliteit
- Australia
- Geboorteplaats
- Neutral Bay, New South Wales, Australia
- Woonplaatsen
- Sydney, New South Wales, Australia
- Beroepen
- poet
publisher - Relaties
- Gemes, Juno (partner)
- Organisaties
- Paper Bark Press (cofounder)
- Prijzen en onderscheidingen
- Patrick White Award (2011)
Leden
Besprekingen
Empty Your Eyes door Robert Adamson
http://shawjonathan.wordpress.com/2013/06/11/malouf-adamson-aitken-harrison-rare...
http://shawjonathan.wordpress.com/2010/04/06/adamsons-best-of-2009/
This is an excellent anthology. In fact, in the context of previous years’ round-ups, both from Black Inc and UQP, it’s a strong contender for Best of the Best. It includes a wonderful range of poetic styles and modes and subjects – incomprehensible post-modern stuff, impassioned story-telling, linguistic virtuosity, delicate lyric. There’s Clive James’s assured iambic pentameter, Pam Brown’s asthmatically short lines, Ali Cobby Eckermann’s lines you might need to know didgeridoo breathing to recite adequately. In the introduction, Robert Adamson talks about his solution to the difficulty of reducing his short list to fit the space available – he persuaded Black Inc to give him more space. I’m glad he did, and that he kept commentary, analysis and explanation to a bare minimum.
I’m not going to try to name the poems I liked best. My copy has far too many page-corners turned down for that.
I was struck by the sense of community among the poets, particularly as shown in the number of poems honouring those who have died: Dorothy Porter (‘Word‘ by Martin Harrison), but also John Forbes (‘Letter to John Forbes‘ by Laurie Duggan0, Jan McKemmish (Pam Brown’s ‘Blue Glow‘), Francis Webb (‘Reading Francis Webb‘, by Philip Salom [the link is to a PDF]) and Bruce Beaver (a couple of mentions, but mainly Peter Rose’s beautiful imitation, ‘Morbid Transfers‘).
Buying this book in March felt a little bit silly, like buying hot cross buns in July, but it turns out it’s not a seasonal thing at all. It’s an anthology that I’m sure I’ll go back to.
Tara Mokhtari on the Overland blog puts a completely different view at http://web.overland.org.au/2010/04/08/review-%E2%80%93-the-best-australian-poems.... She does identify herself as a ’shunned poet’.… (meer)
This is an excellent anthology. In fact, in the context of previous years’ round-ups, both from Black Inc and UQP, it’s a strong contender for Best of the Best. It includes a wonderful range of poetic styles and modes and subjects – incomprehensible post-modern stuff, impassioned story-telling, linguistic virtuosity, delicate lyric. There’s Clive James’s assured iambic pentameter, Pam Brown’s asthmatically short lines, Ali Cobby Eckermann’s lines you might need to know didgeridoo breathing to recite adequately. In the introduction, Robert Adamson talks about his solution to the difficulty of reducing his short list to fit the space available – he persuaded Black Inc to give him more space. I’m glad he did, and that he kept commentary, analysis and explanation to a bare minimum.
I’m not going to try to name the poems I liked best. My copy has far too many page-corners turned down for that.
I was struck by the sense of community among the poets, particularly as shown in the number of poems honouring those who have died: Dorothy Porter (‘Word‘ by Martin Harrison), but also John Forbes (‘Letter to John Forbes‘ by Laurie Duggan0, Jan McKemmish (Pam Brown’s ‘Blue Glow‘), Francis Webb (‘Reading Francis Webb‘, by Philip Salom [the link is to a PDF]) and Bruce Beaver (a couple of mentions, but mainly Peter Rose’s beautiful imitation, ‘Morbid Transfers‘).
Buying this book in March felt a little bit silly, like buying hot cross buns in July, but it turns out it’s not a seasonal thing at all. It’s an anthology that I’m sure I’ll go back to.
Tara Mokhtari on the Overland blog puts a completely different view at http://web.overland.org.au/2010/04/08/review-%E2%80%93-the-best-australian-poems.... She does identify herself as a ’shunned poet’.… (meer)
1 
shawjonathan | Apr 8, 2010 |
shawjonathan | Apr 8, 2010 | 
I expect to reread the first two sections of this many times. These poems, almost all of them featuring birds, the Hawkesbury River and fishing by night, just picked me up and took me with them: the word that comes to my mind for the interplay of real birds, the real river and what the poet's mind makes of them is 'charming', as in having magical force.
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