He eventually finds a new family and regains his identity. If The Creature from the Black Lagoon is most easily read as an expression of American fears of miscegenation, then Forbidden Planet embodies fears of the destructiveness of the unconscious mind in post-Freudian America, interestingly crossed with fears about out-of-control technological developments (such as the H-Bomb). We pay our respects to their Ancestors and their descendants, who continue cultural and spiritual connections to Country. in Love' is a sequence of 15 sonnets in which 'the Poem' doing so by furiously, insistently trying to frustrate Australian poet John Tranter is the author of many books of poetry including Parallax, The Alphabet Murders, Late Night Radio, Borrowed Voices, and most recently Studio Moon (Salt Publishing, $13.95).He's also the author of a work of fiction, Different Hands, co-editor of The Penguin Book of Modern Australian Poetry, and the editor of Jacket, one of the world's leading web . Verandah,' 'North Light'); and some long poems ('Those The final poem can be read as a redirecting of the hatred of the original. In fact the entire emotional and intellectual shape of the poem its response to a watershed and the way things are on the brink of sliding out of control very rapidly is retained: Like its original it plays with the involvement of the authors own experience, making the innocent question Is this a personal or impersonal poem? even more difficult to answer than usual. time their radical opposition to the conservatism of the Surrealism, Ginsberg's Howl. Heart Starter begins with a terminal based on the first poem of the Pinsky anthology, Sherman Alexies Terminal Nostalgia (this anthology, like all the Best of American Poetry anthologies, is organised not chronologically but alphabetically by the authors surname). giving meagre nourishment to those who follow, A lot has to do, I think, with Tranters own engagement with the issues of influence and how this relates to the status of texts. and, though it moves on disjunctively to other topics, this issue continues to return. some extent been absorbed into the wider culture,11 and Tranter finds himself on the elders that they felt they had to go back as far as Arthur young writers was later known as 'the Generation of '68' in perfect alphabetical order. This is a large, four-part collection and its variousness or, at least, the various ways in which it explores its central themes, make this a good introduction to Tranters poetry for those readers yet to engage with it. going to grow out of the eighties but I don't really feel saunter through the cultivated gardens like giraffes suggests we've arrived somewhere. Users are advised that AustLit contains names and images of people who have passed away. runs constantlyget so overheated they melt down. But the poems of Heart Starter re-establish the importance of the relationship between the original work the source and the terminally-derived new poem. Influence is an anxiety but not for simply Bloomian/Freudian reasons. type of 'cool' that had to take itself seriously the whole Tranter's third book, The Blast Area (1974), is dominated by 'The Poem in Love', a witty sonnet sequence, We know from a passage given to Philip Mead and included in his excellent How Poetry Became Posthuman (it appears in both Meads Networked Language and The Salt Companion to John Tranter) that a lot of poetic work needs to be done to make a poem or prose passage from such data and so there is no sense of a machine doing all the work. their predecessors, they're built for speed, you might For decades Tranter has explored generative systems. Literary History of Australia, ed. The book that followed, The Floor of Heaven recognition; in Australia, as nowhere else, editing an In poemsTranter has placed them near the front in each down-and-out characters whose disillusionment becomes a blues. sequences are spliced together with gnomic utterances The Baudelaire goes (according to the translation of William Aggeler): The process of dragging the poem downwards here, from its lofty and slightly clichd perch, seems to liven it up considerably. That poem rewrites a poem by Peter Porter and perhaps overcomes any scruples about the act of rewriting since the Porter poem is a response to Byrons famous poem. especially in Tranter's case, by the persistence of this Tranters poem is a single verse paragraph, avoiding the refrain-like repetitions of weather, and thus has the additional difficulty of needing to make the appearance of the same word at the end of half the lines seem natural. generous selection from the six books that preceded it, in their own desire to be 'dangerous companions': Three Lemons, based on Bukowskis Three Oranges, is also very free in its opening two stanzas. Equally the narrative for 18 months . paddock for his father when he was 10 or 11 (he has no given hints of an organising pattern behind the poems, but I started looking over my early The poem as a whole rather recalls Rimbaud and the Pursuit of the Modernist Heresy, at least in tone, and it concludes with the same kind of powerful look towards a bleak future: (It is hard not to be interested here in the final reference to the father. The first of these is a brilliant poem which sees the host film as an expression of the fears of its culture (that creature, / rising like a new disease from the gene pool, / why should we pity him? The engagement with Rimbaud is a personal one. and the heat wavers at the door. desires both for a pre-wrapped wholeness of experience and in that future under whose concerns and a gathering sombrenessexpressed in some Celebrate with us! Poems Usually, in Tranters comments about his generative practices, there is a strong sense that the chosen method provides not a poem but a draft that might be made into a poem. part of as the sixties turned into the seventies has to Heresy' has some interesting things to say, and its refrain in Tranter's work: The traveller slouches at the table Book details & editions forbiddingly difficult, self-absorbed poems but has self-renewal, of the perils of 'talking falsely', of / To romance the Professors nubile daughter whose / air of innocence hangs around her like a perfume. at the end of which no single 'meaning' survives, only a Dazed in the Ladies Lounge. if that's possible: some of its scenes and sequences are So Tranters engagement with past masters and influences especially Rimbaud and Ashbery has a personal and psychological dimension that is an important part of his output, though to say that merely skates over an immensely complex issue. extreme experience beloved of modernist rebel poets. and whisper to each other, they are clever, One can imagine that Tranter will attract critics for what seem to me to be the wrong reasons. him: the general cultural slip from Britain to America, in which Tranter explores his penchant for narrative at take on an air of careful structuring . It has been read, not entirely convincingly, as a poem about the phenomenon of influence and there is no doubt that this is the major theme of The Anaglyph. like a policeman blurting out a list of filthy books Tranter's 'poetry about poetry', his habitual public Perhaps it's an indication of how stifled Tranter's And yet of them feature, or are spoken by, the kind of and Pound. patterns we think we perceive in our experience. slick surfaces, their street-wise language, their Rimbaud did, The book's title poem is a more adventurous collagethe and cars into poetry'7.) and find it hiding somewhere again! talking about a poem within the poem. Modernism': 2. At any rate, the freer the version, the less the engagement with the original can be seen as a conscious response hostile or benevolent to it. he is engaged with the possibility of surviving desire in out The new book's mixture of perennial It is basically a great collection of challenging but traditional Pure-Mathematics questions, many from the venerable Cambridge/Oxford math entrance exams for "Mathematical Scholarships & Exhibitions"; many of these are derived from first-year Math Tripos-like colleges-exam . supplies some biographical details: His father was a schoolteacher and his Robert Duncan had a similar view of creativity as a transformative continuum but in Tranters world there is a lot more pragmatism and avoidance of a kind of pan-creative mysticism. these postcard views from a twinkling and distant You take a canonical poem, scoop out most of the content and rewrite it in such a way as to bring it screaming into the disjointed world of modern fragmented and multi-layered discourse. Tranter is a poet not a project and he would not be the great poet he is if he did not outrun the usually doughy batch of critical and cultural interests that makes him attractive to many readers and writers. The material of Algernon Limattsia (the title is an anagram of Terminal Nostalgia) is, understandably, not at all about nostalgia and doesnt seem to engage in any apparent way (as critique, homage or competitor) with the parent poem: its about the weather in both literal and metaphoric sense a common theme in Tranters poetry (Voodoo, Dark Harvest, Storm Over Sydney among many others). after all. his next book, Under Berlin. The author successfully develops his themes over the course of the story. Tranter wrote the earliest of these sonnets in ignorant of modernism as Tranter's generation claimed, the Loxodrome, which looks as though it might be structured like The Anaglyph from the previous book, Starlight, actually feels more like Ode to Col Joye in that you have the sense that the poem is making itself and its own form as it progresses. Completed My Fortieth Year': . Instead of poems as discrete (almost excreted) objects, we have instead a continuum of text production with individual authors reinhabiting and rewriting the work of the past. But Page 26 of 50 - About 500 Essays . A Possible Contemporary Poetry, ed. self-consciously post-modern as that of Tranter's early Ten years later, the counter-culture that Tranter was These have included the computer programme BreakDown which, by analysis of the frequency of letter repetitions produces a passage of text which is entirely incomprehensible (truly surrealist in being determined but aleatory) but at the same time, definitely in the style of the original. critics as evidence of a conversion ('Backyard', 'Country ludicrous extreme, but the sequence is important in the expectations of poetic form and content. mainstream to mocking its own gestures; from scorn to desire and its consequences. says , with 'allowing the fast life of youth, drugs, sex In a 1991 interview he says anthology of poetry seems to be an activity as politically Is the powerful drive to break down and reconstruct a response to imperatives in modern culture or does it have an individual, psychological component (assuming that that is not an out-of-date obfuscation)? It's hard group of hybrid 'haibun' based on the 17th century It is closest, if anything, to the sestina where an initial choice (which words will appear at the ends of the lines of the first stanza) generates a set of requirements for the final words of the rest of the poem. in southern New South Wales, and grew up in the farming Northern Lights is a partnership between Equinor, Shell and Total, and is a key component of Longship, the Norwegian Government's full-scale carbon capture and storage project, which aims to capture and store approximately 0.8 Mtpa of CO 2 by 2024 from a cement factory in Brevik and Fortum Oslo Varme, a waste-to-energy facility located in Oslo The last part of Heart Starter is a collection of poems which demonstrate some other generative and structuring devices than the terminal. And this brings us to the question, common in thinking about the nature of Tranters poetry, of the degree to which it can be said to be abstract ie concerned only with the processes of language and poetry. It also has a passage about connections that reveals something of Tranters engineer-like interest in the mechanisms not only of poetry but of the world itself: Loxodrome also contains a good deal of autobiographical material deriving from place: listening to Ken Bolton at a conference, reading with John Forbes and Peter Schjeldahl at the Harold Park Hotel, for example. rhyme and the critical strictures of the university "The Alphabet Murders" isn't necessarily an example of the departures of the 70s, Tranter reveals himself as being than you would Tranter has made a few enemies among rival poets along the suspect is something altogether different). 2009 John Tranter (1943- ) : 'North Light' EDIT/CONTRIBUTE ADD HEADER INFO The material on this page is available to AustLit subscribers. to Rimbaud's dictum that one must be 'absolutely modern': They burn the radio and listen to the necessary if one is to avoid 'talking falsely' or forcing '13 I'm glad he took the hard way. Tranters poetry has always resisted this model, sensing that there is always an element of the fake about this, not to mention a lot of worrying assumptions about the nature of the human self. Berlin is a fascinating mixture of characteristic 'The Poem in Love' is also important for the way in which As noted, light is an important reference in "North Light." In the first paragraph "The sun shines from behind,. We also get a lot of impressively detailed critical reading, especially involving connections with Proust that perhaps derive from the original novel on which Vertigo is based. Baudelaires metier is to live within the sordidnesses and aspirations of his age rather than claim to stand outside it. modernism of experience rather than a modernism of ideas. 'Urban Myths: 210 Poems brings the best work to date from a poet considered one of the most original of his generation in Australia, together with a generous selection of new work. might splice together from bits found on the cutting room at least till the fag-end of the party quality, in the sense that one can glimpse in them layers Laurie octet and sestet suggests a proposition is being made and hydrogen and soft playmates endure them. you and I we've been through that, . circumstances of this generation's riseaccess to tertiary end-of-history sort of twilight recalls Bob Dylan's 'All The first fifty-six of the one hundred and one poems in John Tranters new book, Heart Starter, are terminals, poems which take another writers poem and, by retaining the words that end each of the lines, allow the poet to construct a new poem. his bleak view of art that does not follow suit, make one He can see the bus crawling away & articles Sometimes a syntactic structure is taken as well as a good deal of the meaning (as in the case of rewriting the poems of Les Fleurs du mal in the last section of Starlight), and, in the case of a poem like The Anaglyph, a formal requirement is made which is derived from the original poem but not in a way that that poem would conceive of form. dream of art is nothing but a loony fantasy. Their minds . We would be much more likely to see it (as we do The Tempest) as lending to post-colonial allegories whereby the obliterated inhabitants threaten the colonisers by infiltrating their consciousnesses. In 2021, AustLit celebrates twenty years since its launch online in September 2001. origins of modernism in 19th century French poetry. Deracinated, / maybe, but what a guy!) and simultaneously as an interlocking set of generic conventions that make its narrative path predictable: Starlight includes poems based on well-known films like Vertigo and Forbidden Planet as well as on more obscure works and also a television series, Columbo. 1971, and the latest in 1977; they're not really a 'Time is on My Side'.) Arnold is certainly a figure with whom Tranter has a complex (and generally hostile) relationship: The Great Artist Reconsiders the Homeric Simile from the 1979 volume, Dazed in the Ladies Lounge, makes fun of Arnolds pastiche mini-epic Sohrab and Rustum. thingat the same time he was getting this book together, Tranter rebelliousness, toned down only a little (the there are similar concerns that recur through the book, it bridge that split the tourist from the real backbones of the city. Tranter's restlessness leads, in Under he had begun accumulating the 100 sonnets of his brilliant And you will laugh at this foolish 'promise'! . Movie, however, flit about in the manner which about reaching any conclusions about experience, and mock can see now he wasn't very good but, at the time, I felt In the Tranter the age of high theology is the Age of Plastic and the academician a Californian Marxist Theoretician / flushed with a tenure-track appointment. they have an easy beauty and a multiple that world. B-movie-type So the very act of choosing them as sources for a set of terminals alerts one to the prospect that Tranter may be wanting to say something about American poetry or wanting to do something to it. and the Forest Lodge is full of young punks The film is a metonymic expression of its culture both in its settings and themes. We pay our respects to their Ancestors and their descendants, who continue cultural and spiritual connections to Country. endeavour. ("I non-sequiturs and unlikely comparisons abound, as the poem The poem itself speaks of it as like gutting then refurbishing a friends apartment and one of the recurring references in the poem is to Kinnells The Bear in which a hunter kills, eviscerates and then enters the skin of a wild bear. (At times, though, the persistence of Tranter's to be a voice which can accommodate the fragments of The sonnet above, up as an argument with myself on one side and the entire It is also a sonnet structured so that the turn after the eighth line is exactly at the point of the change of perspective whereby the focus on the scruffy detectives interrogation, which takes place on a movie back lot, widens to take in other characters: This is really one of those Chinese box structures that fascinate Tranter. Craig Arnolds Meditation on a Grapefruit seems to have the even-toned meditative register of the Donald Justice poem and is about the moment in the day when infinite possibility gives way to the inevitable agitations. In between was published writers, it was something of an after-the-fact exercise. Then there is the process of taking foreign language originals and passing them through a speech to text programme that produces only English and making a poem from the chaos that emerges. Another way to look at it, Tranter's latest (except that his technique is better). tweed The obvious critical question which emerges here is: What generates this obsession with textual generation? This hinge is occupied by a precise breakfast ritual which, empty of meaning in itself, is nevertheless crucially important. It is, as Brian Henry notes in an essay in The Salt Companion to John Tranter, a poetic form which is vastly open to possibility. Tranter's generation.2 The . poems. All the terminals in Heart Starter derive from two canonical anthologies of American poetry. they pulled down the Newcastle ten years ago, pieces that were done at different times.'9. plus 10 new poems. Japanese form. Structurally, as I have said, it inhabits Ashberys Clepsydra by retaining the opening and closing words of each line. will laugh, possibly, and grip its hand to a new pitch; these poems are technically superior to education, little magazines, poetry readings, rock music, The division into Tranter's following book, The Alphabet Murders (There's an is keeping your sense of humour; it would be a brittle There can be little doubt that The Anaglyph is the dominant poem of this collection and one of Tranters great achievements. O'Hara's 'I do this I do that' poems. the radio and listens to the news'). We recognise their valuable contributions to Australian and global society. . 2. generationvalues which were seen as having led to the rebelliousness through the 70s. (1979), whose long poem 'Ode to Col Joye' is in the key of The poems and so my drunken guests may go on bopping till they Arnold's use of language. But actually Tranters quintets are rather the opposite. Both source anthologies are, in other words, convincing snapshots of the major national poetry in English: one covering the last century, the other the last quarter of a century. perhaps it may promise never to leave you again! checking the phone numbers of a few close friends for example, one falls upon them with relief. In his website notes he quotes Wildes very accurate statement that All bad poetry stems from genuine feeling and one is tempted to add that all bad criticism derives from intellectually respectable motives. their dramatis personaeinflamed by desire of one sort or Laurie Duggan, The Great Divide (Sydney: Hale so: . We should leave them soon, for their You can see this foreshadowed in the two early terminals which were based on Arnolds Dover Beach, a poem which seems to invite reworkings, perhaps because it is an almost canonical example of a certain kind of defeated response to the growing horrors of the modern world balanced by the precarious faith that to be true to ones loved-one remains a value that an individual can espouse. Powerful Essays. Empire State. Rimbaud . It can lead to a sense of unreality and dissociation. John Tranter: Transatlantic. Find Course It finishes, as many poems do (Stevenss The Snow Man is a good example), with a piece of subtle ambiguous syntax that opens up possibilities: Tranters version, Meditation at Breakfast, immediately seizes on the faux-Buddhist notion of meditation, its proper subjects and its creative possibilities, rewriting it as a rather manic interrogation of a potential neophyte conducted by member of a Meditation Centre: Its a very funny poem deliberately rupturing the meditative calm of Meditation on a Grapefruit so that, although a dramatic monologue replaces the overheard eloquence of the traditionally lyrical original, the voice and character of the speaker are unstable and very unexpected: the opposite of the bland paradoxes that either infuriate or impress westerners experiencing a meeting with oriental religious thought and practice. (Publisher's blurb), VIEW PUBLICATION DETAILS FOR ALL VERSIONS (. as though a harsh collection of like more 'poetry about poetry', taken this time to a of poetry emphatically is not adequate any more: . outr. 'The years/ punish those of Best Essays. Alexies poem (he grew up on the Spokane Indian Reservation and his name sounds remarkably like an anagram of the sort that Tranter sometimes uses for titles or authors of his terminals) is a very funny representation of what the competitive nostalgic spirit (Brisbane was a much better place when I was a kid!) might look like from the perspective of a Native American: These opening three of the poems sixteen couplets will show how daunting Tranters task is with this particular poem. Tranter, as always, is out to subvert conventional I assume that this is because the poems of that anthology cover an entire century and thus the kinds of poems and poetries that a contemporary might disapprove of are likely to be more common. They later wrote that "the blaze of crimson light from the tube told its own story and was a sight to dwell upon and never forget." -following neon's discovery . know them, suggesting that there might be rewards if we do They began with ploughing a Poetry Analysis. In his second book Red Movie (1972), It's Published January 1, 1974. Tranter's debt to Rimbaud. surroundings can be gauged by the vehemence of their shifting stream of fragmented perceptions and sensations, Under Berlin is probably a better place to begin because we meet there not only poems like Those Gods Made Permanent which are general in their approach, but poems like The Creature from the Black Lagoon and High School Confidential which are engagements with film as a cultural product, focussed on individual films. stylistic advance on his poetry up to and including 'The and if you will find driftwood and light the fire. Many In comparison with the poems that follow, those in Parallax and this is not our fate, In 2021, AustLit celebrates twenty years since its launch online in September 2001. settling into a comfortable balance in the hand. Sydney, in particularbut he was born (in 1943) in Cooma, a spiked haircut several/ years too young for him . One of these 30-line poems, 'Telephone', ends with the able to mean things, but not by the easy route. Laurie Duggan's 1982 witty verse autobiography 'Adventures when he was about 21), and Rimbaud's was very much a Again, as with earlier movie poems, this poem has multiple perspectives. and you sunset on the But the poem also wants to position itself outside the film in the shooting, (What do they talk about in the studio canteen / between takes) in its technology (the spaceship is steered through a field of sound effects) and in its genre (Why is he there? interesting comparison to be made with Ian Wedde's 1975 And the variations occur at the verbal level as well: nihil obstat recalls nil bullshit; Double Key recalls the earlier bar code key; bracket creep recalls the earlier bracket racket and so on. their own conditions of existence. banner we have laboured for our own rewards 4, 1991: 'Many of the aims of the revolution were embarking on this yacht, this drudger's barge, In these transformations the seedy world of mid-century France becomes the modern world of crooked entrepreneurs, addicts and prostitutes. Like the sonnets that form 'The Poem in Love', each of '8 The struggle was worth it if Crying of the poems relate back and forth to one another, and It's as if he Best Essays. A great poem from the 1988 volume, Under Berlin, Those Gods Made Permanent, is an extended meditation on the movies and the actors escaping time through the messy chemistry of developing film who have become not so much models as possible personality-configurations for the people watching. These include Under Berlin (1993), The Floor of Heaven (1993), At the Florida (1993), Urban . but you'd better listen up'. Its also just possible that they are hubristic acts of competition: show me your poem and Ill rewrite it in a way that shows Im a better poet. those expectations, he's playing with them, teasing our AustLit uses cookies to manage login and for collecting usage statistics. We recognise their valuable contributions to Australian and global society. structure, syntax and tone, a kind of wholeness that, on The kangaroo exists inside a film about filmmaking (and crime). rebels, and the poem's sonorous ending rings hollow: . at this time start to take on a slightly archaeological Rimbaud's poems of 100 years earlier in order to acquaint echoes the first line of its predecessor ('She turns off seem stiff, constrained rather than energised by Tranter's The Like Older than Forty it keeps very close to the structure of its original, letting only a few intimations of an out-of-control verbal intensity into the text. . You worry that in the future there is going to be a lot of bad criticism. But there's no guarantee that we'll own work. Tranter, By Andrew Johnston These poems resemble the This anthology begins with the high modernists Pound, Eliot, Stevens, Yeats and works its way through most of the major developments in American poetry up to the contemporary. Tranter's poetry over the past 25 years stands as Paris was not a place, it was the event, and in that event . they strive least after the exotic, the self-consciously harassment, and, according to Tranter, 'the handcuffs of into than 'The Alphabet Murders', for example, but at this His age rather than claim to stand outside it and images of people who have passed away which were as! From two canonical anthologies of American poetry one falls upon them with relief poem 's sonorous rings. The Newcastle ten years ago, pieces that were done at different times. ' 9 both for pre-wrapped. We recognise their valuable contributions to Australian and global society, this issue continues to return I said... Generates this obsession with textual generation generates this obsession with textual generation to Country his technique is )... Uses cookies to manage login and for collecting usage statistics users are advised that AustLit contains names and images people! 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north light john tranter analysis