Overland literary journal

Progressive culture since 1954

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Review

Uprising

Italian thinker and media activist Franco ‘Bifo’ Berardi is an important figure of today’s Leftist European theory. Having joined the Italian Communist Youth Federation in 1962 at the age of 14, he is often associated with the autonomist Anarcho-Marxist movements of the 1960s and 1970s, such as operaismo.

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Review

The truths of death

At the time of her appearance in the influential 2000 anthology Calyx: 30 Contemporary Australian poets, MTC Cronin had already presented herself as one of the most distinct voices among the new poets to have emerged in the 1990s. The success of her subsequent collections such as The Flower, The Thing, which won the 2005 Victorian Premier’s Literary Award in Poetry, further established her as one of main figures in the generation of poets who practiced – to use the term suggested by the poet and critic David McCooey, also in 2005 – a ‘new lyricism’.

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Review

Poetics of society: expression and the mute speech

The title under review is not particularly recent – it was first published in France in 1998 – but was only translated into and published in English last year, and its view of art and literature is very much new and groundbreaking. It is, in the words of the book’s superb introduction by Gabriel Rockhill, ‘a major offensive against the modernist doxa (and its postmodernist avatars).’

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Review

Poetry: Notes from a slam-poetry phobic

I first came across Luka Lesson’s work at last year’s Brisbane Writers Festival. The young Melbourne-based poet – also known as Luka Haralampou – was sharing the stage with a number of spoken-word artists or stage poets, there to compete for the audience’s approval against a group of page poets. I must admit that such competitive divisions make me cringe.

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Review

Poetry: Two new long poems

How is it that very long, book-length poems continue to be written and published despite the overwhelming preoccupation with either short closed forms (the sonnet is proving rather popular with some Australian poets) or minimalist wordplays by more experimental writers? Two new books provide very different but equally convincing answers to this question.

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