Saturday, May 29, 2010

On Getting Published



The Emerging Writers' Festival is in full swing here in Melbourne, and my poem Show Us Where You're Publishing is now open for discussion at the Emerging Writers' Festival Online for the next few days as part of the Festival. Drop by, if you're so inclined, and have a chat about where you are or aren't publishing your poems and why, or why not.
* This blog, slamup, can now also be reached through the url maxineclarke.com.au.

Tuesday, May 25, 2010

Music For Broken Instruments, by A.S. Patric




Music For Broken Instruments
, an e-book by Melbourne writer A.S. Patric , has already been endorsed by a formidable group of writers and poets, including Aural Text’s Alicia Sometimes, and Page Seventeen’s Tiggy Johnson. Reading the collection, this comes as no surprise.

Each page of the book has been beautifully typeset by Black Rider Press against their trademark olde worlde crumple-watermarked pages in typewriter font. The tactility of the collection is frustrating, in part, for a digitally delivered book: Music For Broken Instruments begs to be printed on thick recycled paper, ribbon bound and covered in leather or cloth for those winter afternoons with blanket, cat and cocoa. On the other hand, the aesthetics of the book cleverly serve as an enticement to press print.

Patric, a widely published prose writer whose work has previously appeared in publications such as Quadrant, Page Seventeen, Overland and Etchings, has often declared prose to be his first love, and indeed there are several poems in this first collection in which this ongoing affair is evident. The narrator in Public Places, for example, with his self examination and rhetoric, could very successfully be escorted into first person short story territory.

Patric’s poetry is at its best when the writer commits to form and style: when we see A.S. Patric The Poet in his element: structure and safeguards thrown to the wind. The other-worldly surrealism of A Lover in Fortuna is a particular victory, the astonishing juxtaposition of images threaded together with extraordinary ease:

First thing I’m going to do is grow me a Friedrich Nietzsche moustache
and then I’m going to hunt down all the men dressed in bear suits...
...I just don’t know which way is up inside the cardboard packing box...

Elsewhere in Music For Broken Instruments, Patric brings this magic imagery to the every day. In King Hit, he conjures prisons only mice escape from, a coffee cup skull and an old man dancing like a king. In the poem We of the Synchronised Yawns, destiny becomes the train that leaves at 3.13am in the station of your mind. Each image is a wonder in and of itself.

Such is the beauty of Music For Broken Instruments: poems sit within poems, which crouch within poems, devouring poems. Ambitious, perhaps, for a writer who has not previously published much poetic work, but for the most part Patric’s grasp is as strong as his reach.

"We publish like thieves in the night" is the Black Rider Press mantra, and so captivating is Patric's wordplay that one is unaware the intruder has visited until the house is all but empty.

Music For Broken Instruments will be launched at 8pm tomorrow evening (26th May) at Willow Bar, 222 High St, Northcote, Melbourne. The e-book Music For Broken Instruments, by A.S. Patric, can be purchased here.

Friday, May 14, 2010

Emerging Writers' Festival Online Program Launch



For those Melbournites amongst you around in the city tomorrow, I've been a last minute invitee to speak at the online launch of the Emerging Writers' Festival Online Program in Federation Square tomorrow. I'll be reading my poem Show Us Where You're Publishing, which was anthologised recently in Miscellaneous Voices, Australian Blog Writing #1.

EWF Director Lisa Dempster writes:

The Emerging Writers' Festival is launching a super-slick online program this Saturday, 15 March at Federation Square. Come along and hear blogging superstars Maxine Clarke, Rachael Kendrick, Angela Meyer and Philip Thiel talk about Writing in an online world. We will also be revealing our exciting EWFonline program of events. If you can't make it down to Fed Square, log onto www.emergingwritersfestival.org.au on Saturday when the program goes live.

Tuesday, May 4, 2010

It Was Already Political: a manifesto extract

It was November 2006 and I knew was going to be on stage that night. Already it was political: I took the tiny newspaper cut-out Tarzan had stuck to the fridge and left screaming baby Boy in his arms. I wore stretched maternity pants and a fast beating heart. I knew I’d come home with some kind of trophy, but never realised I was carrying it before the taxi even arrived.

The Writers Centre was in the grounds of a former mental asylum. I was late to register, but somebody took pity on me. It was already political. Before I arrived or spoke a word, before anyone knew I would be taking the mic, before anyone told me to write poetry about everyday life, before I had a chance to use my ninety seconds to say fuck you in a hundred different ways to a hundred different already-thinking-they-were-listening-to me people who needed to hear it a hundred different times and would carry it away in their hearts without maybe even realising. Before I left the house, it was political. That night a young brown woman left her child to stand up in a room full of mostly white, perhaps even mostly hostile, people. It was political. There was a vomit stain on my shoulder. I didn’t notice it till afterward.

Give me two minutes and a room full of people and I am going to give you a poem about what – the way Ophelia may or may not have felt about Hamlet? I am gonna hand you broken hearted vitriol with some anecdote thrown in about washing the dishes. How else will you emphathise. After all, that is what women both live and write. That I am here in the first place might not be so convenient but here I am - do you or do you not want me to sing?

I am always being told to be smarter about the way I write. God knows, I have plenty of suburban anecdotes that could probably win me a prize. My parents planted two silky oak saplings behind their house in this country shortly after they arrived. One fell on the house – it was over fifteen years later then and the tree was ten metres taller than when it was planted. We were away on holiday at the time, the whole family. The tree waited until our backs were turned and just decided on devastation. That should have been a warning. The walls, quite literally, were falling in. My mother sent me a postcard when the other tree went. It strangely withered for no apparent reason the day the ink was dry on their legal documents. I like letters, but that tree postcard was the shortest note I have ever received. Write about dying trees, it ended.

Writing silky oaks would have been political. I could already hear people saying this woman has an interesting story. Where in the hell did she come from and how is she even doing this. She has a chance to really speak. And she is going to write about what – trees?

It is already political, before I even speak.

So think about it. What is it you really have a problem with.

At that first slam I read a poem about female circumcision and came home with a shiny gold trophy and an envelope worth many books. I made money the first night I said fuck you, a young brown woman in a room full of strangers, talking honestly for ninety seconds.

A woman in a headscarf came up to me afterwards. She put her hand on my arm and said ‘Thankyou’. I had never heard that kind of thankyou before.

It was quiet when I opened the door to the second floor flat in our red-brick Kensington apartment. Boy was asleep chewing his bottom lip. Tarzan stared at my shiny spoils incredulously, looked at his watch and said ‘You made short work of that then. Do they even know what hit them?’

I went straight to the fridge. ‘No’, I said, ‘I don’t think they have any idea.’

Believe me, it was poetry.