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John Shaw Neilson received only a basic education, yet became one of Australia's best poets. He was born at Penola, South Australia on 22 February 1872. Raised by a family of poor labourers, Neilson worked as a farm hand.
John Shaw Neilson (1872-1942) is Australia's great lyric poet and Collected Poems (1934), dedicated to Louise Dyer, bears his imprimatur. Encouraged by his editor, Robert Croll, Neilson was totally involved in its publication and promotion, selecting the poems, rewriting lines, adding new stanzas and restoring A.G. Stephen's earlier changes. Photographic sittings and book signings followed as well as favourable reviews. Neilson modestly attended readings in his honour at the Bookshop of Margareta Webber and enjoyed the concert broadcasts of Margaret Sutherland's compositions which included 'The Orange Tree'. After reading the Collected Poems she wrote to Neilson: "I have set your voice to music."A new introduction by Dr Helen Hewson, an Honorary Associate in the School of Letters, Art and Media at the University of Sydney, explores some of the influences which have shaped Neilson's poetry - his Celtic background, religious upbringing, reading and writing and love of art and music.
John Shaw Neilson (1872-1942) is Australia's great lyric poet. A new introduction by Dr Helen Hewson explores some of the influences which have shaped Neilson's poetry.
Neilson (1872-1942) was the son of a small settler and contract labourer in Western Victoria, and led the same kind of life as his father, helping his family work a number of disastrous selections and adding to their income by seasonal jobs at fencing, fruit picking, quarrying and woodcutting. His mother and two of his sisters died young, and he and his brothers suffered from chronic ailments attributable to poor diet and constant anxiety.
Australian poetry is popularly conceived as a tradition founded by the wry, secular and stoic strains of its late-nineteenth-century bush balladeers Adam Lindsay Gordon, Henry Lawson and ‘Banjo’ Paterson, consolidated into a land-based ‘vigour’ in publications such as the Bulletin. Yet this popular conception relies on not actually consulting the poetry itself, which for well over one hundred and fifty years has been cerebral, introspective, feminine and highly — even experimentally — religious. This book casts Australian poetry in a new light by showing how Australian Christian mystical poetics can be found in every era of Australian letters, how literary hostilities towards women poets, eroticism and contemplation served to stifle a critical appreciation of mystical poetics until recent decades, and how in the twentieth century one Australian Christian mystical poet began to influence another and share their appreciations of Dante, Donne, Traherne, Blake, Wordsworth, Brontë, Rossetti, Hopkins, Yeats, Eliot and Lowell.
Lesbia Harford (1891-1927) has occupied only a small place in Australian literary history. For decades, she was utterly forgotten, yet, when she died at 36, she left behind three notebooks containing some of the finest lyric poems ever written in Australia. Harford's writing looks both forwards and backwards, blending Pre-Raphaelite influences and plain-speaking with unusual subtlety. At the same time, she was bound inextricably to the period in which she lived. War in Europe, changing attitudes to religion, the suffrage movement, and widespread social upheaval all helped make her one of the first, truly modern, urban figures in Australian poetry. Of the nearly 400 poems in manuscript, just over half are reproduced in this present collection. Of these, roughly one-third have not appeared in print before.
This is a superb introduction to poetry from the nineteenth century to the present. With insight and insider knowledge, poet Geoff Page emphasises the contribution made by the notable generation of Australian poets who emerged during and just after World War II. It includes several contemporary poems which are likely to become classics in the near future. Each poem is followed by a short, lively essay discussing its merits and suggesting why it might be considered a classic.