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xi | |
| Prefatory comments |
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xii | |
| Acknowledgements |
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xviii | |
| Introduction: Localities |
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1 | (9) |
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10 | (41) |
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How does the activist cope with ambiguity? |
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11 | (11) |
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Resisting the compliant text |
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22 | (10) |
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The truth should be in blurbs, encomiums, references, letters of support and launch speeches etc. |
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32 | (19) |
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51 | (35) |
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An Unambiguous Response to Helen MacDonald's Article The Forbidden Wonder of Birds' Nests and Eggs' |
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52 | (3) |
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How do poems come out of conversations? |
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55 | (2) |
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On being an ethical vegan for thirty-three or so years |
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57 | (6) |
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No pets but surrounded by animals - proximity sensors and warnings |
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63 | (11) |
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Dream pastoral inversions: re-approaching pastoral fraughtness through questions of Australian rurality |
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74 | (12) |
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86 | (70) |
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87 | (4) |
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A dissenting imagination: disambiguations |
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91 | (5) |
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Places we do or don't go to not only in person, but also in writing |
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96 | (12) |
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`Precise poems' are more ambiguous than we might think: on Judith Wright's Collected Poems |
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108 | (14) |
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On Georgina Arnott's The Unknown Judith Wright |
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122 | (2) |
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On Alison Whittaker's poetry collection Blakwork: a letter to an editor |
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124 | (2) |
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Non-ambiguous: dispossession and culpability - on Ambelin Kwaymullina's Living on Stolen Land |
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126 | (1) |
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On Glen Phillips's Collected Poems 1968-2018: In the Hollow of the Land |
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127 | (3) |
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A poet's personal appreciation of Les Murray (in memoriam, April, 2019) |
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130 | (2) |
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132 | (3) |
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Sinews - on Siobhan Hodge's Justice for Romeo |
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135 | (3) |
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On Matt Hall's poetry collection, False Fruits: habitation and the `Consonant Feather' |
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138 | (2) |
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On Kim Seung-Hee's Hope Is Lonely |
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140 | (5) |
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On Philip Neilsen's MS Wildlife of Berlin |
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145 | (2) |
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On Omar Sakr's The Lost Arabs |
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147 | (1) |
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On Paul Kelly's 2017 album/CD Life is Fine |
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148 | (3) |
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The polyphony of voices brought together |
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151 | (5) |
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156 | (17) |
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The inherent reciprocities of memoir-making: on the memoirs of Evelyn Shaldr and George Ellenbogen |
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157 | (16) |
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173 | (5) |
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On an innovative poet's book, never published: introduction to Scott Patrick-Mitchell's Vade Mecum |
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174 | (4) |
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178 | (45) |
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179 | (12) |
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191 | (13) |
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On my own, my language is not alone |
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204 | (1) |
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Rocks can burn, too: and there's nothing ambiguous about it |
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205 | (4) |
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Poetry can lead to speculative `realist' fiction: the inspiration behind Hollow Earth |
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209 | (1) |
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On Spenser's stanza `Virtue gives itself light' |
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210 | (3) |
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Consuming rebellions and the need for non-violent protest |
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213 | (8) |
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Extinction Rebellion is too much about image and not enough about its own impacts |
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221 | (2) |
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PART SEVEN TOWARDS `CONCLUSIONS' |
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223 | (14) |
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Disembodying and re-embodying the poem as act of acknowledgement of land rights and a rejection of `property': on acts and actioning of environmentally concerned poetry |
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224 | (7) |
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Resist! Against cruelty - emphasis without violence |
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231 | (6) |
| Conclusion to Beyond Ambiguity and a triptych of poetics |
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237 | |
