This chapter examines the early colonial imaginary of Australia. It demonstrates how there was no unified perception of the land but rather movement between utopic and dystopic visions, often according to audience. The chapter discusses poetic speculation on the expansion of empire into what was viewed as the ‘New World’ and the publicising of the colony as a space of pastoral idyll for prospective emigrants. It also considers the negative depictions of Australia as a penal colony, particularly through broadside ballads that were popular among the working class. Lastly, the chapter analyses the representation of female convicts and the adaptation of the eclogue form by Robert Southey.

The history of poetry in Australia is a history of languages and nations. This volume provides multiple perspectives on that history. Literary histories are always full of contention and this is especially so in Australia where the political and social reality of nation is itself in contention. Poetry was an influential medium through which the structure, experiences and values of settler colonialism and then nationhood were articulated and debated. But it was also complicit in the unconscious assumption of terra nullius in the language of settlement. This is not, then, a history of the untroubled development of a nation and its poetic traditions, but of deep and ongoing debates over language, aesthetic paradigms, land ownership, and cultural and spiritual life. History emerges through documents and narration of ‘the past’; it is part of what Lisa Lowe calls ‘the economy of affirmation and forgetting that structures and formalises the archives of liberalism, and liberal ways of understanding’. Poetry is also part of this economy yet can, perhaps more than any other genre, approach that which eludes the archive or exceeds it. This includes those subjects, practices and geographies that have been excluded from ‘the human’ as well as aspects of the ordinary, of embodiment and feeling. It may provide a mode of care for cultures and communities. With its epistemological and ontological charge, poetry has been both constitutive of and the limit-point of representation.

This chapter examines the ways in which Judith Wright shaped Australian literary culture, not only through her poetry but also through her work as an editor, anthologist and critic. It contextualises the development of Wright’s poetry in light of her childhood, education and the impact of World War II, arguing that misreadings of her pastoral lyric during Wright’s lifetime failed to appreciate how it undercut settler mythmaking. The chapter discusses Wright’s exploration of a psychic interior during the 1950s and how she became increasingly focused on the settler-colonial mind during the 1960s. It outlines Wright’s engagement with Aboriginal land rights and her leadership in the burgeoning environmental movement. The chapter ascribes much of this change to the influence of Oodgeroo Noonuccal and discusses their poetic correspondence and friendship in the 1970s. The chapter also considers her turn from poetic voice towards practices of observation and listening, arguing that Wright’s attention to ‘the human pattern’ evident in her last volume, Phantom Dwelling, suggests less a silence in her later years than a realignment of her focus and energy.

This chapter considers conceptual books, conceptual writing and concrete poetries, while distinguishing conceptual books and writing from other experimental work. It analyses several examples to demonstrate how their very structure forms a critique of dominant knowledge systems, including structures of settler colonialism and nation. It also considers the relationship between conceptual art and conceptual writing, and the focus on materials, processes and practices surrounding the poem or book’s existence, value and consumption. It discusses the role of visualism in much of conceptual writing. It discusses how conceptual writing has troubled both First World and North-centric mappings and influences, creating parahistoriographies that might be considered parallel to, and separate from, dominant histories.

While pointing to poetry’s diminishing role as a public medium and its increasing absence from major addresses by Australian heads of State, this chapter considers how critical discussions of events that have drawn poetry and the State together often focus on the poet’s politics rather than examining the poetry itself. An example of this is Prime Minister John Howard’s invitation to poet Les Murray to assist in drafting a Preamble to the Australian Constitution. Instead, the chapter focuses on the ideology underpinning the relationship between poetry and the State through three examples from different historical periods. It reads Douglas Stewart’s ‘The Silkworms’ as an allegory for the citizens of a modern, industrialised State in the post-war 1950s. It considers Vicki Viidikas’s ‘Weekend in Bombay’ as engaging with progressive liberalism in the 1980s, and Chloe Wilson‘s ‘Ice’ as articulating the spiritual need and helplessness felt by Australians in light of political and environmental crises and perpetual uncertainty.

This chapter synthesises empirical methodology with detailed contextual analysis to reflect on the ways in which anthologies of the late twentieth and early twenty-first century constructed or de-prioritised national, canonical and generational frames. Noting previous interpretative frameworks such as ‘new lyricism’, this chapter argues that a number of anthologies during this era reflected an ethical turn in Australian poetry and emerged out of or postulated literary communities and networks. The chapter includes an analysis of the two Best Australian anthology series and an analysis of anthologies with canonical impetus. Lastly, it considers the shift in definitional terms from the ‘modern’, ‘new’ or ‘now’ to the ‘contemporary’, as well as forms of discontent with such a term.

This chapter examines the changing reception of Charles Harpur’s poetry. Firstly, it considers the valuing of Harpur as a nature poet, and secondly, the impact of literary theory on interpretative approaches. It then outlines a third phase that is text-historical or text-critical, and which is attentive to the poems’ multiple moments of composition and revision. The chapter discusses Harpur’s navigation of colonial readership, and how he experimented with a range of voices. It includes an examination of his translations that are related, in part, to Harpur’s fascination with the role of the poet and with other poets, such as Coleridge.

This chapter investigates the penal colony in Australia as a radical extension of European systems of social discipline and moral transformation. It considers how poets in colonial Australia faced a multitude of tasks, including the adaptation of British literary cultures to new territories, developing a sense of colonial belonging, taking imaginary possession of Indigenous lands, and also occasionally expressing ambivalence to Indigenous dispossession. The chapter discusses how poets responded to early administrative structures, with many engaging with a satiric form known as pipes that circulated clandestinely. While some poetry embraced a more ironised and alienated poetics, other poetry such as Michael Massey Robinson’s odes reinforced a Virgil-influenced alignment of land cultivation and moral improvement. The chapter then considers Barron Field’s nation-building use of poetry and the relationship between poetry and promotion of the unwritten doctrine of terra nullius.

This chapter argues that any discussion of Aboriginal writing from the eighteenth and nineteenth centuries is political in nature and requires an interrogation of the role of Western epistemologies in the colonisation of Aboriginal lands, waters and cultures. It considers the role of English language and text in the conceptualisation of Aboriginal and Torres Strait Islander people, and Australian literature’s role within Western epistemological supremacy. The chapter argues that Aboriginal storytelling modes, particularly poetry, have been central to resistance and struggle against British colonisation. It explores the strengths of Aboriginal writing and the role of Aboriginal poetry in decolonisation.

This chapter examines the small press activity that continued to flourish in large Australian cities in the 1980s while smaller centres were dominated by particular individual writers. It considers how some poets began to adapt poetic language to the novel. It also tracks the publication of anthologies by mainstream publishers, including important collections of Aboriginal writing and women’s poetry by Penguin. The chapter includes a discussion of the Sydney Women’s Writers Workshop that began in the 1970s and continued through the first half of the 1980s. It analyses poetry by a wide range of writers, including John Tranter, John Forbes, Les Murray, Robert Gray, Vicki Viidikas, Anna Couani, Martin Johnston, Laurie Duggan, Alan Wearne and John A. Scott.

This chapter considers the emergence of gay and lesbian voices in the late 1960s and 1970s in relation to political activism and forums such as small press culture, the visual arts and performances. It discusses how some of these were associated with the women’s movement. It notes how an early coalitionist approach transformed into separatism between the lesbian and gay communities, followed by a return to coalitionist approaches in light of the AIDS crisis. The chapter analyses the print culture supporting gay and lesbian writing during these decades. It tracks the emergence of queer poetries that rejected identity categories, including queer Aboriginal poetry. It discusses the mainstreaming of LGBTQ+ writing, including the film adaptation of Dorothy Porter’s The Monkey’s Mask. Lastly, the chapter considers the proliferation of publications by gay, lesbian, queer, trans and non-binary poets from 2010 onwards, contextualising them in light of public debates around the Australian Marriage Law postal survey, the Safe Schools Coalition, and protests around police participation in and corporate sponsorship of the Mardi Gras Parade.

This chapter traces the ways in which Surrealist concepts and textual features were engaged by and absorbed into Australian poetry. It begins with Surrealism’s early reception in the 1930s, followed by the response of writers associated with Angry Penguins, and the work of Ern Malley. It then considers the re-emergence of interest in Surrealism in the ‘generation of ’68’, particularly in the writing of Jas H. Duke, Philip Hammial and John Jenkins. The chapter concludes by analysing the Surrealist ‘automatic effect’ in selected contemporary poets.

This chapter analyses the role of anthologies in the documentation and shaping of feminist poetries. It considers how they perform cultural, political and aesthetic work for communities of writers and readers, and exist both within and beyond institutions. The chapter considers the engagement with feminism as developing in different generations but also as having important inter-generational connections. The chapter also undertakes close readings of major feminist poets in the late twentieth century to today.

The chapter offers provisional compass points for navigating new modes of writing by 21st-century Australian poets in light of a world of overdevelopment, environmental crises and extinctions. The compass points include: modes of anxiety and grief involved with poetic form, and material forms emerging in combination with agencies, matter and forces. Inflection points include the shared becoming of humans and non-humans. The chapter includes a discussion of ecopoetic literary journals, as well as anthologies that have gathered and showcased ecopoetry, radical writing of land, and environmental protest poetry. It includes analyses of poetry by writers such as Judith Beveridge, Louise Crisp, Coral Hull, John Kinsella, Peter Minter and Mark Tredinnick.

This chapter considers the increased opportunities for women writers to travel and relocate in the early to mid twentieth century. It analyses the possible impact that living in Australia could have on their writing but also how increased mobility generated a sense of independence that led to an experimentation with form. It would also embolden some to protest against social injustice, as well as enable more unconventional life paths. The chapter also considers how these writers navigated a sense of displacement and liminality in their writing. Lastly, it demonstrates how national categories were delimiting for these writers’ careers and had a negative effect on the later reception of their work.

This chapter considers how the concept of literary regionalism sits uneasily in relation to three incommensurate ontologies: the Indigenous ontology of Country, the ontology of science expressed through the project of the ‘bioregion’, and the ontology of settler belonging. It argues for the provisional nature of literary regionalism and outlines settler regionalism as emerging most fully as a second generation of settler poets (including Judith Wright, Dorothy Hewett and Randolph Stow) began questioning their settler inheritances. The chapter includes a discussion of the concepts of ‘creative region’ and ‘author country’. It considers the literary region of mid north New South Wales in the work of Judith Wright, Les Murray and Alison Whittaker, and a literary region in Western Australia in the work of Randolph Stow, John Kinsella and Charmaine Papertalk Green.

This chapter analyses how poetry of the late nineteenth century were mythopoetic exercises which promoted a nativist labour poetics that typically subtended the primary conflict of settler colonialism. It analyses how the heroicisation of bush work in the 1870s was built upon in the late 1890s when economic depression and changes to labour conditions saw a tightened alignment between labour to values of citizenship, civilisation and moral virtue. While 1890s poetry depicted the material and psychological consequences of capitalism and economic depression, its advocacy for workers’ rights were racially bound and can be mapped onto events that led to the White Australia policy. The chapter also discusses the influence of correspondence with Walt Whitman in Bernard O’Dowd’s vision of radical nationalism, yet also how such vision was likewise racially limited.

The chapter situates children’s poetry within the print culture of the nineteenth and twentieth centuries, and how such poetry provides insights into the shift from a reliance on British practices and literary models to a sense of literary distinctiveness and independence. It discusses how early alphabet books developed literacy as well as inculcated social and political values. It also considers how some children’s verse disseminated the trope of the lost child in the bush, while other verse familiarised children with the Australian environment. It discusses the emergence of fairy and fantasy worlds based on distinctly Australian settings following World War I, and a growing depiction of Australian progress. The chapter discusses the pedagogic role of school readers and their role in mediating continuing connections to Britain and a specifically Australian identity. The chapter also discusses the significance of columns for children in periodicals, and how their encouragement of children to write which led to the rise of a number of child poets.

This chapter considers how Australians have looked to South America for what they might become while Argentinians looked to Australia for what Argentina could become. It traces William Lane’s failed utopic colonies in Paraguay in the 1890s and, following her participation in one of them, Mary Gilmore’s engagement with and promotion of Latin American culture to other Australian writers. It considers Latin American migration to Australia, particularly in the late twentieth century. It discusses the role of little magazines, small presses and radio shows in encouraging poetry by Latin American migrants. It analyses their sense of marginalisation to mainstream Australian literary culture, and shifts towards decentring Australia in both writers’ transcultural movements and framings by anthologies. Lastly, the chapter examines recent encounters with Latin America by Australian-born poets and discusses competing framings of the South, including by writers such as J. M. Coetzee and John Mateer.