Gør som tusindvis af andre bogelskere
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The affects, aesthetics, and ethics of voice in the new materialist turn, explored through encounters with creative works in media and the arts.
Ross Gibson watches the harbour as acutely as he does the ancient land and the more recent landfall of Sydney. Over decades he has paid attention in his writing and other artistic pursuits to the aftereffects of Sydney's colonial history, its environmental silhouette, and its poetic forms.In Flooded Canyon, he uses haiku to lay down some of these contours created through deep observation of littoral zones.
'Ross Gibson's poetry is marked by the numinous, then undercut by the quotidian, the earthy, a different way of seeing.' Jen Webb, Australian Book Review Here are scrummed gangs of criminals and police, with all their lurks, quirks and argots. The underworld and its overlords: how ingenious and energetic, how ardent both sides can be. What brutes they can be too, day after day, as they track and trick each other, as they make and need each other. Ross Gibson's poignant rewriting of a found dossier of police records has some Dickens, some Dostoevsky, and some DeLillo threaded through it. The sharp local language of Christina Stead, Kenneth Slessor, Arthur Stace and Ruth Park resounds in here too.
"Memoryscopes is a companion volume to Changescapes"--Page [4] of cover.
"Changescapes is a companion volume to Memoryscopes"--Back cover.
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