16 September 2011

AP features the Blake Prize shortlisted poems

Australian Poetry has decided to feature the Blake Prize's shortlisted poems as their poems of the week for the next six weeks.

Robert Adamson has won this year's Blake Prize for poetry

The 2011 Blake Poetry Prize for poetry ($5,000) has been awarded to
Robert Adamson for his poem Via Negativa, The Divine Dark


From the judges' report (Brook Emery, Bronwyn Lee and Judith  Beveridge)
 [Source: Blake Society's Facebook page]
"This is a powerful, visually striking, intelligent poem which explores complex ideas associated with negative theology in a humble but resonant way. The poem beautifully manages the movement between the immediacy of the present and difficult concepts such as time, suffering and the existence and nature of the soul; between the trivial ordinariness of the world and the large abstractions; between what can be knowable and precisely observed and what remains unknowable and concealed."

You can read the poem by downloading* the poem from the Blake Societys website. 
*Why don't they use the web medium for what it is intended for -- displaying text -- instead of using it to store PDFs that have to be downloaded then viewed. How arcane in this day of electronic publishing to bury the gold in a PDF.

Judge's report, King Island Poetry competition 2011

King Island Poetry competition 2011 – Results (also see http://www.fawtas.org.au/results.html)
1st Prize: 'Behold the Lamb'  by Janeen Samuel
2nd Prize: 'Death in Venice'  by Graeme Hetherington, Czech Republic.
King Island resident prize: no award.
Highly commended: no award.
Commended poems by David Campbell (2), Mike Cooper, Phillippa Cordwell and Lorraine Haig.


Judge's reportAnne Kellas13 August 2011

I'd like to start with a question: are poetry competitions a lottery? Are judges biased about what they pick as winners? I used to think so but I have come across a simple mathematical ratio that explains things: on average, in any poetry competition, by and large, there'll be five to ten percent of entries that are going to be in the running for the prize, and about 90 to 95 percent flawed pieces of writing in the judge's opinion. This poetry competition was no exception: there were 37 poems, from which two poems, right from the start, stood out as the contenders for the winning places.

What made me choose them? I could say, well, their execution was more adept, or their form more polished, but it's because, after a first reading of all the entries, those two poems stayed in my mind. They piqued my curiosity. I walked about with their images in my head. Stray lines came back to me unbidden. I had to find these two poems and read them again.
The cathedral's domes look feathery when wet,
like birds without the use of wings.
I had to find the lemon-ribbed image at the core of the other that had drawn me to it.

I wanted to go back to read them again, and when I read them a second time, my opinion that these were the winners was confirmed. (By the way, I read all the entries a several times.) A poem has to stand up to a second and a third reading -- and still please. Why else do we go back to read poems from the past? What attracts us to our favourite poets? Besides achieving the status of being what I would call a poem and not a piece of narrative, as many entries were, these two poems succeeded in their marrying of idea and image with a certain necessary grace and effortlessness. They also had that something that transforms a piece of writing on a page into something new that has not existed before. All this using only words.

In a poem, everything happens at the surface. The poet has the surface of the page as his or her canvas, onto which words and punctuation marks are sprinkled, in patterns delineated by white space and paragraph marks. But it's not the ragged right margin that makes a piece of writing a poem, it's not the breaking words and lines at the margin that makes a poem, it's not stretching out the lines and concertinaing them in again that makes a poem. The mere use of rhyme does not make a poem. A poem employs a reasoning of its own in its use of many things: metaphor, image, musicality, colour, tone. If there is no meaning behind the use of these "tools" of poetry then the poem too easily collapses back into being a collection of words on a page.

The breaking up of a word or a line on that surface of white space, if done at the wrong place, or for no apparent reason, is like an awkward trip in rhyme or meter, drawing attention to the author's pen instead of drawing the reader into another dimension of meaning: words encode meaning. The words a poet chooses either suit or clash with the music and breath of the poem when it is spoken out aloud. For we don't only read poems off a page or screen, we also hear them in our mind; poetry is an aural medium, a musical medium. It is the musical joining of image to meaning to rhyme makes the poem a poem.

Some of the entries were the start of poems and I'd encourage their authors to go back to them and complete them. The end result might be a protest poem, or a philosophical poem or a nature poem. Some entries never got beyond being the description of an event. The story in a poem can be strong, but the form might need to be a prose poem then, and not a prose poem chopped into lines. An event might ignite the poet into action, and a narrative might weave its way through a poem, but in the course of the poem, something must shift, change. That event, that narrative, must help take both the reader and the poet somewhere new. Let imagination work to find what that is1.

Poems are often ruined because of how they end. Too often, the poem itself had already ended, but the poet put in a final appearance, rounding it off with “an ending" ... It's the poet's job to let the poem work its magic and get out of the way.

Some poems were ruined because, although they used rhyme and meter cleverly and even pleasingly, at some point the writer resorted to a contortion for the sake of rhyme or metrical foot: and like Churchill, that is something "up with which I cannot put".

In his judge's report for the 2005 Write Stuff poetry competition, Stephen Edgar said it all comes down to how a poet uses language.

Language. Not just sentiment. Not just plot. One poem found its way into the list of commended poems purely on this score -- because so few poems in this competition dared to let the tiger of language out of its cage. It's a poem called Sitting in the bush, a veritable thicket of stick-like words that bristle and battle their way as if through thorny undergrowth and it even invents a word or two to claw its way to a new meaning. It's not a perfect poem but it is striking because it does battle with words. Poems can be imperfect and still work. Like a crack in a glaze, a fault can let the light of meaning in (to paraphrase Leonard Cohen).

Another poem in the commended list, Dance, describes a relationship. It's an off-hand, slightly off-balance poem whose theme is matched by its off-balance line endingsYet another, Tumblehome, uses that seafaring image as it allows the words to roll and sway while it keeps its balance thanks to its own inner kind of tumblehome. Both Greyface, with its kindly dramatic tone, and Hitch-hiker tell a story interestingly within a poem's frame and sustain the reader's interest to the end.

Finally it is the use of metaphor and imagery, in a way that is integral to the poem's meaning, that made me settle on "Death in Venice" and "Behold the lamb" as the two winners. "Death in Venice" gets second place, for its wonderful evocation of the atmosphere of decaying, sad-angel European city, and first goes to "Behold the lamb" -- it wins for its sheer simplicity and its use of imagery. I was slightly repelled by the poem's subject matter at first, but the poem won me over. I will never forget it for its lemon-ribbed core, for the way the hooves of the little dead lamb are described as butter curls / innocent of earth. It lies there under the pines, unmourned by its mother:
Already, the merciful crows
have taken away the eyes
(no need to see your way
into darkness you do not comprehend)
have pierced the side
into a chest no larger
than a ribbed lemon, lung
dark and dense as liver,
where no air has been.
In the penultimate issue of Five Bells, Ron Pretty cites poet publisher John Leonard as saying that "poetry reading circles -- poetry book clubs -- should be established -- and that writers' centres and poetry organisations should consider setting these up2. I think this simple idea is excellent for an age of meagre opportunities and in cases where writers work in isolation both physical and geographic: especially writers on King Island would benefit from the adoption of Leonard's idea. Well, we all need to "hear" good poetry read aloud. I'd encourage the entrants in this competition whose poems didn't get a mention today -- and in fact everyone -- to read more poetry. I encourage poets to make the effort to read poems outside their usual comfort zone. There's still the public library -- the Visigoths of our dark ages have not yet confined all books to the tip. As long as we still have electricity to fire up the new Alexandria Library that our friends at Google and all the poets on YouTube are building, there's the plethora of poetry online to read, and to inspire us all.

Notes:
1. On the topic of imagination, see Unless it moves the human heart, by Roger Rosenblatt. Rosenblatt who says great writing is often less about what happens than about how it happens. He encourages poets to strive for imagination rather than invention, for anticipation rather than surprise, and to write with precision and restraint.

2. Five Bells, v.17, n.1-2, Summer/Autumn 2010, p.53. (Contact the new non-government peak body, Australian Poetry Ltd. for copies.)

Judge's report - Henry Savery short story competition 2011

FAW 2011 Henry Savery National Short Story Competition
results (also see http://www.fawtas.org.au/results.html)


1st Prize: 'Tasty Necessities'  by Neil McInnes of NSW
2nd Prize: 'Bitter Fantasy'  by Neil McInnes of NSW



Judge's Report
Giles Hugo

13th August 2011

There were 55 entries in this year's competition -- a good indication of the keen interest in short story writing among FAW members nationally. The wide range of approaches to story telling was also gratifying -- there are many ways to skin the fictional feline.

I followed my usual judging process of reading all the entries right through and assigning a "first impression" rating of 0 to 10. After 24 hours I repeated the process and made minor adjustment to some ratings. The two prize winners stood out from the rest right from my first reading. However, I reread all the entries twice more to confirm my impressions and judgements.

The quality of entries was extremely variable. Most that did not make the cut simply failed as short stories. A short story is not:
  • A wildly complicated tale of crime, death and duplicity more suited to an outline for an episode of a TV thriller.
  • A travellogue about "what I did on my OS holiday" -- often exacerbated by a saccarinely romantic or dystopic affair.
  • A philosophical treatise on life, the universe and everything. Even Douglas Adams needed a whole novella to explore that.
  • A rambling anecdote spanning decades and a cast of dozens, roughly threaded together by the presence of the narrator.
  • A childhood fragment about some kindly saint who warms the heart but chills the brain.
Several worthy attempts that achieved the form of the short story were spoilt by poor writing:
  • Flat or clich├ęd language.
  • Clumsy use of words.
  • Unconvincing dialogue. Here I suggest to all writers that they read all passages of dialogue aloud to judge their authenticity. Do people really speak like that, or only in parody?
  • Unfunny attempts at humour.
  • Totally unconvincing switches of personality or character at very short notice. Old dogs -- and bitches -- rarely learn new tricks. Some real people do -- but the cirumstances have to be extraordinary, not just convenient for neat plot purposes.
  • Poorly executed endings. This was probably the most common reason for failure to make the grade. A bang or a whimper? Both can work. The last line is your final shot, your last note before your word fall silent in the reader's mind or continue to reverberate. Miss it or blow it and you have undone all the careful wooing and stalking of the reader that your words should have achieved.
In judging competitions such as this, it has always been of interest to me what themes emerge in the entries. This year among the deeper themes that appealed to entrants were:
  • Sea changes.
  • Vietnam veterans and those close them.
  • The shadow of trauma.
  • Life in a retirement or nursing home. And this is where one of the prize winners excelled.
Unfortunately I had to disqualify three entries because of identification issues. In two cases -- inadvertently or otherwise -- the authors were identified by cover sheets with names on them stapled to the back of the entry. In one case an email was stapled to the back of an entry -- with the names of a sender and a recipient, one of which might have been the entrant. This should have been picked up before I was given the entries to judge and I urge the organisers to review and improve their processing and scrutineering. Fortunately none of the disqualified entries made the short list for the two prizes.

And so to the winners.

I'll start with the runner up: the second prize of $100 in the 2011 Henry Savery Short Story Award goes to Entry No.15, Bitter Fantasy.

I liked this on first reading because it is a simple tale of injustice and retribution -- somewhat in the Roald Dahl vein; well told and nicely restrained in the slow advance of looming menace and gruesome resolution. A very bitter fantasy, but most satisfying.

And the first prize of $400 in the 2011 Henry Savery Short Story Award goes to Entry No.14, Tasty Necessities.

This is one of the rare cases where comic writing succeeds -- not because it tries to be a laugh a line, but because the humour emerges convincingly from real characters and situations. The premise -- that one of the residents of a retirement village can fundamentally change the lives of his fellows by daring to promote their virility and sexuality -- is both novel and delightfully realised. In area of human experience that is generally shunned as taboo, or treated as somehow bizarre, this story asserts the value of the liveliness and spirit of those who choose to grow old slightly disgracefully. Rebels with a cause. And why not?

Congratulations to both winners and the 53 others who tried so hard. It is most gratifying to see so many attempting to master the short story genre -- certainly not the easiest, but very satisfying on those rare occasions when your efforts succeed.


Giles Hugo


13th August 2011

15 September 2011

Whitmore Press Manuscript Prize 2011: Shortlist announced

Last night, the Whitmore Press Manuscript prize announced the shortlist for the prize (publication of a limited edition chapbook in early 2012).

Shortlisted poets are:
  • B. R. Dionysius
  • Paula Green
  • Dominique Hecq
  • Jill Jones
  • Jo Langdon
  • Laura Jean McKay
  • Eddie Paterson
  • Nathan Shepherdson
  • Lucy Todd
  • Corey Wakeling
The winner, whose work will be published in a limited edition chapbook in early 2012, will be announced before the end of September.

Whitmore Press, in an email announcement to entrants, said 116 entries in this year's competition had been received, and that the entries were "of a very high standard".

North of the Latte Line thinks this high standard might be due to the prize's novel approach to submissions, asking entrants to submit not an entire manuscript, but a poem or poems toatalling up to 150 lines, from that manuscript, and also asking entrants to be sure they had the entire manuscript ready for publication within a tight time-frame after the prize award announcement.

Three recent Whitmore Press publications – by Jamie King-Holden, David McCooey and Cameron Lowe – were featured ABC Radio National's Poetica, 3 September [2011] during National Poetry Week: http://www.abc.net.au/rn/poetica/stories/2011/3286639.htm

25 August 2011

Short story writer Geoffrey Dean has died

Sadly, short story Geoffrey Dean died last week (19 August 2011). His funeral is on Friday 26 August at 12.30 at Turnbull's in Hobart.

Famous reporter editor Ralph Wessman has paid triubute to Geoff on his blog, Flowerdale, at http://www.walleahpress.com.au/flowerdale/?p=57 and I have put a tribute up on the Roaring Forties Press website at: http://www.roaring-40s-press.com/?p=227


Ralph Wessman ends his post:
"Possibly the degree to which you love someone is measured by the hole left in your heart when he or she is no longer around. You’ll be very much missed mate."


A friend told me today she's never liked the short story genre until I gave her a copy of Geoff's book The Literary Lunch. Today in a sympathy card she wrote: "Geoff: a remarkable, unique and talented man. His passing has left a void in many lives ... Thank you for introducing me to Geoff and his wonderful writings."

It was personal feedback like this that kept Geoff going during the times when recognition for his work was slow in coming. When we sold his book at Salamanca Market, it was the interaction with his readers that inspired him. We also had emails from abroad, from people who had read his early work, wanting more.

It is thanks to the Tasmanian Writers Centre's efforts in recent times that his reputation has grown, and I am pleased that in his lifetime, he was honoured not only by the prizes he won, but by being interviewed on The ABC in three separate programs in recent times.

Interviews:

* ABC TV Stateline Tasmania, feature story, on 3 June 2011 – view online
* 936 ABC Hobart, feature story, on 26 October 2010 (“Once a storyteller, always a storyteller’) – view online
* ABC Radio National’s Book Show, interview by Peter Mares on 17 August 2007 – see transcript, “The art of the short story”, reproduced on the Roaring Forties Press web site with permission.
* In 1994, Ralph Wessman interviewed Geoff for Famous Reporter.

Geoff: in the words of another avid reader of your stories, your passing is a major point in time for the Tasmanian writing scene.

6 February 2011

Masterclass with Anne Kellas: June to November 2010

This is just a quick note to say that I shall be running a masterclass for about 6 to 8 poets later in the year through the Tasmanian Writers Centre. It will have the general format of a long course, with twice-monthly sessions from June to November. Keep an eye out for details in their newsletter, or call them on 03 6224 0029. Email: admin@tasmanianwriters.org Mondays to Thursdays 10 am to 4 pm are their core hours).

Short story competitions to enter in 2019

Thanks to the Australian Writers Centre, here's a list of s hort story competitions to enter in 2019: https://www.writerscentre.com.au/...