Saturday, October 27, 2007

'Chariots of Fire' Run record broken

Rare triumph for British student in 'Chariots Of Fire' run (from ABC News online)

A student at Cambridge University in England has become only the second man ever to beat the clock in a historic running race immortalised in the film Chariots of Fire, newspapers have reported.

The Oscar-winning 1981 movie, based on the lives of two rival sprinters, shows one, Harold Abrahams, successfully running the 367 metres around the great court at Trinity College within the 43 seconds it takes the clock to strike noon.

In reality, the only person to have completed the feat was Lord David Burghley in 1927 - until 19-year-old economics undergraduate Sam Dobin beat the clock this week.

"It was an amazing feeling. I can't believe I've actually set the record for it," he told the Daily Mail newspaper.

He added that he now hoped to be part of Britain's squad for the 2012 Olympic Games in London.

Sebastian Coe, a British middle distance runner who won two Olympic gold medals and is now a member of the House of Lords, attempted the feat in 1988 and came very close, although his effort is not recognised by Trinity.

The college clock had been wound the day before and chimed more quickly than usual, therefore depriving Coe of the accolade, Trinity's website says.

"This is a truly tremendous achievement and a rare moment in Trinity's history," the college's dean, Professor Kevin Gray, said.

The 17th century court is the most famous part of the prestigious college, which was founded by King Henry VIII in 1546.

It is an annual tradition for athletic students who are just starting at the college to try the run at midday on the day of the welcome dinner which the college throws for them.

Monday, October 22, 2007

Letters to The Age

My cousin Mary in Melbourne wrote that. And I couldn't agree more. For the cost of a pizza each, we could be increasing the value and efficiency of the nation's essential services. I'm proud of her. (Although, on a personal note, I will be trying for that extra thirty years.)

Sunday, October 21, 2007


Fay Zwicky, John Anon (beard), Samuel Wagan-Watson,
Janet Jackson
(with guitar) (and in black coat later) Helen Hagemann, Sarah French (red hair), Jenny de Garis (with sculpture in hand)- reading, performing at Poet's Corner, in Pages Cafe, Alexander Library, Perth Cultural Centre ...

Find out more from Frances Macaulay Forde at

Friday, October 19, 2007

How To Give a good reading of your poems

From Gary Mex Glazner at

This outline is adapted (with permission) from the chapter in Gary Mex Glazner’s book How To Make a Living as a Poet (Soft Skull, 2005) entitled “The Barbaric Yawp: Giving a Good Reading.” There is no better way to build an audience for poetry than to give a polished professional reading. Reading poetry aloud reconnects people to the original power of poetry and reconnects them to the pleasure of poetry: its sound. Walt Whitman called this the barbaric yawp. But how does one yawp barbarically?

Difficulty: Average

Time Required: However long it takes you to psyche yourself up before you begin + the time of the reading itself

Here's How:

Plan what you are going to do. Choose a set of poems from which you intend to read. If you’re reading from a manuscript, put the pages in your reading order. If you’re reading from a book, mark the pages (post-its are good for this purpose). You can always add a poem that comes to mind spontaneously during the reading, or eliminate one or more poems if you need to cut the time -- but have a planned set before you go to the reading so you can avoid hemming & hawing & shuffling papers on stage.

Warm up. Feeling some nervousness before giving a reading is natural. It shows you care about doing well. But too much nervousness can be detrimental. Warming up will help you control your nerves and give an effective, memorable reading. Doing a few simple stretching exercises will get the blood flowing -- you want to be loose and supple during your reading. Some poets do push-ups, some rapidly repeat their poems, some talk to the walls backstage, some pray -- whatever boosts your energy.

Own the room. Arrive at your reading venue early. Burn incense or, even better, burn a sacrificial issue of Poetry. Call down the gods and goddesses of your choice. Get used to the room. Of course it will sound different when it is full of people -- still, you can listen to the room as you walk through it. How alive or dead is the echo?

Explore the performance space. Stand where you’ll be during the reading & look around. How are the sight lines to the stage? Is there a balcony to be aware of? Is there seating at the sides of the stage, where the audience will be left out if you only address those in front of you? Do you want to use the whole room by leaving the stage & microphone and walking out into the audience? If so, how do you access the stage & the audience area? Are there stairs?

Check sound & lighting. Especially if you will be reading your work, check out the lighting situation. Sometimes the lights will wash out the printed page and you may have to be ready to turn at an angle to be able to read from the page -- it helps to know this beforehand. Do a sound check to get used to the microphone if you’ll be using one. Try speaking into it from difference distances. There will be a “sweet spot” where your voice sounds best. Work with the sound person if possible.

Chat up the audience. Saying hello to the audience is a good start. Be accessible; let them get to know you. Ask them questions. Find out what is going on locally -- this may help you to decide what poems to read. You can use this pre-reading time to put yourself and the audience at ease. Getting acquainted like this may, however, not be possible in some larger venues. In that case it may be best to stay backstage, creating an aura of poetic mystery.

Know your poems. It is a good idea to memorize at least a few of your poems, if not all the work you will be reading on a given night. There is a world of difference between reciting a poem by heart and having to actually read it. Memorizing the poem will allow you to concentrate on performance, have greater eye contact & a more powerful connection with the audience. Being able to watch the audience during your performance will give you a good idea of whether they are engaged.

Time your set. Find out from the organizer beforehand how long your reading should be. Practice your set & make sure you have the intended poems timed out so that you can complete your presentation in the allotted time. Poets are famous time hogs. It is always better to finish when the audience still wants to hear more from you, rather than to leave them wondering when you are going to stop.

Visualize yourself reading well. Imagine yourself performing your poems with your voice loud, clear & assured. When you visualize yourself performing well & reading your poems powerfully, you will increase your chance of reaching full barbaric yawp speed. Lie down. Close your eyes. Breathe deeply. You are feeling very relaxed. See yourself on stage. See yourself as one with the words. You are the poem, you shining star! (Careful now with your ohming, or you might just levitate.)

Realize that the audience wants you to succeed.
People want you to be a famous immortal poet. They want to have a good time & they want you to be interesting, stimulating, informative & entertaining. Perhaps they even want you to be sexy in an intellectual-tweed-jacket kind of way. One technique for conquering the common fear of public speaking is to envision the audience naked. The audience knows this and they, in fact, are often envisioning you naked. Let this be a source of comfort to you.

Don’t apologize. Being a performer is never having to say you’re sorry. Don’t call attention to the fact that you are a nervous wreck. Don’t apologize for being a virgin reader. Let them guess that it is your first time, if it is. If they do guess that you have never done this before (at least not here, in this bar, like this...), ask them to be gentle with you. Don’t promise that you will come back and read again unless you mean it.

Release the inner beast. Think of your nervous energy as Longfellow’s arrow, or as Shakespeare’s summer day. Build a nest in your heart and let your poems hatch their little eggs. Think of your nervousness as foreplay. Now tell me, how excited are you?

Don’t eat a big meal or drink too much just before you give a reading. Eat something light & save your appetite for after the reading, when you can go out & celebrate your great performance.
Have some water handy to sip when you’re on stage. Nerves can make your mouth dry & cottony when you start, and if the reading is long your throat may get parched.

What You Need:
Your poems
Your voice

Wednesday, October 17, 2007

Alexander Library, venue of The Poet's Corner

The venue for Saturday's POET'S CORNER is in the cafe inside
the Alexander Library building
across the courtyard from the WA Art Gallery.

See you there Saturday from 2pm.


Friday 19 October 7.30pm till late

Magazine jampacked with
69 Australian Poets!

To be launched by
Poet and Scholar
The Glasshouse, Brass Monkey Hotel,

Poets reading include Shane McCauley, Zan Ross, Sue Clennell, Deanne Leber, Flora Smith and me.

Compered by


2pm Saturday 20th October 2007

Another POETS CORNER event during the
20th October 2007
2PM at Cafe on the Ground Floor,
Alexander Library, Perth Cultural Precinct

will be hosted by
invited guests are:

Please come along and support the poets of Western Australia!!!

If you would like to read or participate in the Open Mic sections of any Poets Corner event, please contact Frances Macaulay Forde here: or via her own website

Tuesday, October 16, 2007

Norton Anthology contents, excluding the US

Supplied by Max Richards, literary snoop in Melbourne -

Contents of the final volume in the new
Norton Anthology of English Literature
(pages numbered from 1827 to 2876)

The Twentieth Century and After 1827
Introduction 1827
Timeline 1848

THOMAS HARDY (1840­1928) 1851
On the Western Circuit 1852
Hap 1868
Neutral Tones 1869
I Look into My Glass 1869
A Broken Appointment 1870
Drummer Hodge 1870
The Darkling Thrush 1871
The Ruined Maid 1872
A Trampwoman¹s Tragedy 1872
One We Knew 1875
She Hears the Storm 1876
Channel Firing 1877
The Convergence of the Twain 1878
Ah, Are You Digging on My Grave? 1879
Under the Waterfall 1880
The Walk 1881
The Voice 1882
The Workbox 1882
During Wind and Rain 1883
In Time of ŒThe Breaking of Nations¹ 1884
He Never Expected Much 1884

JOSEPH CONRAD (1857­1924) 1885
Preface to The Nigger of the ³Narcissus² 1887
[The Task of the Artist] 1887
Heart of Darkness 1890

A. E. HOUSMAN (1859­1936) 1948
Loveliest of Trees 1948
When I Was One-and-Twenty 1949
To an Athlete Dying Young 1949
Terence, This Is Stupid Stuff 1950
The Chestnut Casts His Flambeaux 1952
Epitaph on an Army of Mercenaries 1953

voices from world war i 1954

RUPERT BROOKE (1887­1915) 1955
The Soldier 1955

EDWARD THOMAS (1878­1917) 1956
Adlestrop 1956
Tears 1957
The Owl 1957
Rain 1958
The Cherry Trees 1958
As the Team¹s Head Brass 1959

SIEGFRIED SASSOON (1886­1967) 1960
ŒThey¹ 1960The Rear-Guard 1961
The General 1961
Glory of Women 1962
Everyone Sang 1962
On Passing the New Menin Gate 1963
Memoirs of an Infantry Officer 1963
[The Opening of the Battle of the Somme] 1963

IVOR GURNEY (1890­1937) 1965
To His Love 1965
The Silent One 1966

ISAAC ROSENBERG (1890­1918) 1966
Break of Day in the Trenches 1967
Louse Hunting 1967
Returning, We Hear the Larks 1968
Dead Man¹s Dump 1969

WILFRED OWEN (1893­1918) 1971
Anthem for Doomed Youth 1971
Apologia Pro Poemate Meo 1972
Miners 1973
Dulce Et Decorum Est 1974
Strange Meeting 1975
Futility 1976
S.I.W. 1976
Disabled 1977
From Owen¹s Letters to His Mother 1979
Preface 1980

MAY WEDDERBURN CANNAN (1893­1973) 1981
Rouen 1981
From Grey Ghosts and Voices 1983

ROBERT GRAVES (1895­1985) 1984
Goodbye to All That 1985
[The Attack on High Wood] 1985
The Dead Fox Hunter 1987
Recalling War 1988

DAVID JONES (1895­1974) 1989
in parenthesis 1990
From Preface 1990
From Part 7: The Five Unmistakeable Marks 1992

modernist manifestos 1996

T. E. HULME: From Romanticism and Classicism (w. 1911­12) 1998
F. S. FLINT AND EZRA POUND: Imagisme; A Few Don¹ts by an Imagiste(1913) 2003
T. E. Hulme: Autumn 2008
Ezra Pound: In a Station of the Metro 2008
H. D. 2009
Oread 2009
Sea Rose 2009
Blast (1914) 2009
Long Live the Vortex! 2010
Blast 6 2012

MINA LOY: Feminist Manifesto (w. 1914) 2015

WILLIAM BUTLER YEATS (1865­1939) 2019
The Stolen Child 2022
Down by the Salley Gardens 2024
The Rose of the World 2024
The Lake Isle of Innisfree 2025
The Sorrow of Love 2025
When You Are Old 2026
Who Goes with Fergus? 2026
The Man Who Dreamed of Faeryland 2026
Adam¹s Curse 2028
No Second Troy 2029
The Fascination of What¹s Difficult 2029
A Coat 2029
September 1913 2030
Easter, 1916 2031
The Wild Swans at Coole 2033
In Memory of Major Robert Gregory 2034
The Second Coming 2036
A Prayer for My Daughter 2037
Leda and the Swan 2039
Sailing to Byzantium 2046
Among School Children 2041
A Dialogue of Self and Soul 2042
Byzantium 2044
Crazy Jane Talks with the Bishop 2045
Lapis Lazuli 2046
Under Ben Bulben 2047
Man and the Echo 2050
The Circus Animals¹ Desertion 2051
From Introduction [A General Introduction for My Work] 2053

E. M. FORSTER (1879­1970) 2058
The Other Boat 2059

VIRGINIA WOOLF (1882­1941) 2080
The Mark on the Wall 2082
Modern Fiction 2087
A Room of One¹s Own 2092
Professions for Women 2152
A Sketch of the Past 2155
[Moments of Being and Non-Being] 2155

JAMES JOYCE (1882­1941) 2163
Araby 2168
The Dead 2172
Ulysses 2200
[Proteus] 2200
[Lestrygonians] 2213
Finnegans Wake 2239
From Anna Livia Plurabelle 2239

D. H. LAWRENCE (1885­1930) 2243
Odour of Chrysanthemums 2245
The Horse Dealer¹s Daughter 2258
Why the Novel Matters 2269
Love on the Farm 2273
Piano 2275
Tortoise Shout 2275
Bavarian Gentians 2278
Snake 2278
Cypresses 2280
How Beastly the Bourgeois Is 2282
The Ship of Death 2283

T. S. ELIOT (1888­1965) 2286
The Love Song of J. Alfred Prufrock 2289
Sweeney among the Nightingales 2293
The Waste Land 2295
The Hollow Men 2309
Journey of the Magi 2312
four quartets 2312
Little Gidding 2313
Tradition and the Individual Talent 2319
The Metaphysical Poets 2325

KATHERINE MANSFIELD (1888­1923) 2332
The Daughters of the Late Colonel 2333
The Garden Party 2346

JEAN RHYS (1890­1979) 2356
The Day They Burned the Books 2357
Let Them Call It Jazz 2361

STEVIE SMITH (1902­1971) 2372
Sunt Leones 2373
Our Bog Is Dood 2374
Not Waving but Drowning 2374
Thoughts About the Person from Porlock 2375
Pretty 2377

GEORGE ORWELL (1903­1950) 2378
Shooting an Elephant 2379
Politics and the English Language 2384

SAMUEL BECKETT (1906­1989) 2393
Endgame 2394

W. H. AUDEN (1907­1973) 2421
Petition 2422
On This Island 2422
Lullaby 2423
Spain 2424
As I Walked Out One Evening 2427
Musée des Beaux Arts 2428
In Memory of W. B. Yeats 2429
The Unknown Citizen 2431
September 1, 1939 2432
In Praise of Limestone 2435
The Shield of Achilles 2437
[Poetry as Memorable Speech] 2438

LOUIS MacNEICE (1907­1963) 2441
Sunday Morning 2442
The Sunlight on the Garden 2442
Bagpipe Music 2443
Star-Gazer 2444

DYLAN THOMAS (1914­1953) 2444
The Force That Through the Green Fuse Drives the Flower 2445
The Hunchback in the Park 2446
Poem in October 2447
Fern Hill 2448
Do Not Go Gentle into That Good Night 2450

voices from world war ii 2451
EDITH SITWELL (1887­1964) 2452
Still Falls the Rain 2453
HENRY REED (1914­1986) 2454
Lessons of the War 24551
Naming of Parts 2455
KEITH DOUGLAS (1920­1944) 2456
Gallantry 2456
Vergissmeinnicht 2457
Aristocrats 2458
CHARLES CAUSLEY (1917­2003) 2459
At the British War Cemetery, Bayeux 2459
Armistice Day 2460

nation and language 2461
CLAUDE McKAY (1890­1948) 2463
Old England 2463
If We Must Die 2464
HUGH MacDIARMID (1892­1978) 2464
[The Splendid Variety of Languages and Dialects] 2465
A Drunk Man Looks at the Thistle 24661
Farewell to Dostoevski 24662
Yet Ha¹e I Silence Left 2467
In Memoriam James Joyce 2467
We Must Look at the Harebell 2467
Another Epitaph on an Army of Mercenaries 2468
LOUISE BENNETT (b. 1919) 2469
Jamaica Language 2469
Dry-Foot Bwoy 2470
Colonization in Reverse 2472
Jamaica Oman 2473
BRIAN FRIEL (b. 1929) 2475

Translations 2477

KAMAU BRATHWAITE (b. 1930) 2523
[Nation Language] 2523
Calypso 2527
WOLE SOYINKA (b. 1934) 2529
Telephone Conversation 2529
TONY HARRISON (b. 1937) 2530
Heredity 2531
National Trust 2531
Book Ends 2532
Long Distance 2533
Turns 2534
Marked with D. 2534
NGUGI WA THIONG¹O (b. 1938) 2535
Decolonising the Mind 2535
From The Language of African Literature 2535
SALMAN RUSHDIE (b. 1947) 2539
[English Is an Indian Literary Language] 2540
JOHN AGARD (b. 1949) 2542
Listen Mr Oxford Don 2542
DORIS LESSING (b. 1919) 2543
To Room Nineteen 2544

PHILIP LARKIN (1922­1985) 2565
Church Going 2566
Talking in Bed 2569
Ambulances 2569
High Windows 2570
Sad Steps 2571
Homage to a Government 2571
The Explosion 2572
This Be The Verse 2572
Aubade 2573

NADINE GORDIMER (b. 1923) 2574
The Moment before the Gun Went Off 2575

A. K. RAMANUJAN (1929­1993) 2578
Self-Portrait 2579
Elements of Composition 2579
Foundlings in the Yukon 2581

THOM GUNN (1929­2004) 2582
Black Jackets 2583
My Sad Captains 2583
From the Wave 2584
Still Life 2585
The Missing 2585

DEREK WALCOTT (b. 1930) 2586
A Far Cry from Africa 2587
The Schooner Flight 25881
Adios, Carenage 2588
The Season of Phastasmal Peace 2590
omeros 2591
13.3 [³ ŒMais qui c¸ a qui rivait-¹ous, Philoctete? ¹ ²] 25916
.49.1­2 [³She bathed him in the brew of the root. Thebasin²] 2592

TED HUGHES (1930­1998) 2594
Wind 2594
Relic 2595
Pike 2595
Out 2597
Theology 2598
Crow¹s Last Stand 2599
Daffodils 2599

HAROLD PINTER (b. 1930) 2601
The Dumb Waiter 2601

CHINUA ACHEBE (b. 1930) 2622
Things Fall Apart 2624
From An Image of Africa: Racism in Conrad¹s Heart of Darkness 2709

ALICE MUNRO (b. 1931) 2714
Walker Brothers Cowboy 2715

GEOFFREY HILL (b. 1932) 2725
In Memory of Jane Fraser 2725
Requiem for the Plantagenet Kings 2726
September Song 2726
Mercian Hymns 27276
(³The princes of Mercia were badger and raven. Thrall²) 27277
(³Gasholders, russet among fields. Milldams, marlpools²) 272728
(³Processes of generation; deeds of settlement. The²) 272830
(³And it seemed, while we waited, he began to walk to-²) 2728
An Apology for the Revival of Christian Architecture in England 27289.
The Laurel Axe 2728

V. S. NAIPAUL (b. 1932) 2729
One Out of Many 2730

TOM STOPPARD (b. 1937) 2752
Arcadia 2753

LES MURRAY (b. 1938) 2820
Morse 2821
On Removing Spiderweb 2821
Corniche 2822

SEAMUS HEANEY (b. 1939) 2822
Digging 2824
The Forge 2825
The Grauballe Man 2825
Punishment 2826
Casualty 2828
The Skunk 2830
Station Island 2831
12 (³Like a convalescent, I took the hand²) 2831
Clearances 2833
The Sharping Stone 2836

J. M. COETZEE (b. 1940) 2838
From Waiting for the Barbarians 2839

EAVAN BOLAND (b. 1944) 2848
Fond Memory 2848
That the Science of Cartography Is Limited 2849
The Dolls Museum in Dublin 2850
The Lost Land 2851

SALMAN RUSHDIE (b. 1947) 2852
The Prophet¹s Hair 2854

ANNE CARSON (b. 1950) 2863
The Glass Essay 2864
Hero 2864
Epitaph: Zion 2868

PAUL MULDOON (b. 1951) 2868
Meeting the British 2869
Gathering Mushrooms 2870
Milkweed and Monarch 2871
The Grand Conversation 2872

CAROL ANN DUFFY (b. 1955) 2873
Warming Her Pearls 2874
Medusa 2875
Mrs Lazarus 2876

Sunday, October 14, 2007


Yesterday, Saturday 13 October, the 2007 WA SPRING FESTIVAL was officially launched at the theatrette at the Alexander Library, Perth city. Poet, retired broadcaster and ex-Academy of Performing Arts lecturer, Murray Jennings, was Master of Ceremonies.

The ceremonies began with two Noongar elders welcoming us to their land, and a brief didgeridoo lesson by Squiggle, a young indigenous man with a great stage presence.

A councillor from the Perth City Council then officially opened the week long festival, but it was really for the next speaker we had all filed in. Australia poet, story writer, critic and educator, FAY ZWICKY, spoke as Patron of the Festival, and read poems from her new collection PICNIC (Giramondo Press, 2007)

Following her I read some poems, mostly about my recent stay in China; Maureen Sexton spoke about the beginnings of the Festival just three years ago, and read some of her very moving poems; and Murray Jennings read his 2006 Tom Collins Poetry Prize winning poem, which, coincidentally, was judged by Fay Zwicky.

As FAWWA's Writer In Residence, I then delivered a tribute to Fay, reading poems from some of her six volumes of poetry, before handing it over to Trisha Kotai-Ewers as President of the Fellowship of Australian Writers (WA) to present Fay with a crucible and a scroll, thereby awarding her a Lifetime Honorary Membership of both the Fellowship and WA Poets Inc. The crucible has been a longtime tradition at the FAW here, representing the birth through fire of the precious metal from the raw material - a metaphor for the writer's craft and art.

After the Official Opening, and a certain break for a drink and nibbles, we retired to the Great Southern Room on the Fourth Floor, to conduct a panel discussion on the theme PRACTICE MAKES PERFECT. Panelists included Australian prize-winning poet and best selling verse novelist, DOROTHY PORTER; Singaporean poet and writer, ALVIN PANG; West Australian rising young poet SARAH FRENCH; and myself.
Thank you to Jeanette Burke for the photos.

Writing Marathon @ TOM COLLINS HOUSE

My first occasion to be involved with members as the 2007 Fellowship of Australian Writers Writer-In-Residence at TOM COLLINS HOUSE WRITERS CENTRE, Swanbourne, Western Australia, was a Writing Marathon run by poet and cellist KEVIN GILLAM. The Emerging-writer-in-residence BRONWYNE THOMASON also took part.

The wonderful old house was a might chilly, so we all retired to the front verandah, looking for some sunshine, at the break. Kevin wisely continued the session out there. These are some photos from that event.

Taking part were Lesley Thomas, Cyndie Innes, Pauline Matthews, Trisha Kotai-Ewers (president FAWWA), and Elizabeth.

Friday, October 12, 2007

POETICA - Poetry on ABC Radio

on ABC Radio National,


3rd Dive ­ an underwater radio-poem by Jayne Fenton Keane.
10th e. e. cummings ­ a selection of cummings' influential poetry and prose.
17th Pantum, Pantoum ­ a feature on the ancient Malay form of poetryand its modern offshoots.
24th Along a River ­ an encounter with Western Australian poet, Glen Phillips.


1st Varieties of Gazelle ­ the work of Arab-American poet NaomiShihab Nye.
8th All the Iron Night ­ poetry, prose and 'ruined piano' music by Ross Bolleter.
15th Upon Clouds ­ an anthology of cloud poems.
22nd The Earthbound Spirit ­ a feature for Rumi¹s 800th birthday.
29th Road Train ­ new poetry from the Northern Territory.


5th Dreaming Transportation Part 1 ­ poems by Jordie Albiston aboutconvict women, with music by Andrée Greenwell.
12th Dreaming Transportation Part 2
19th Havana Nights ­ contemporary Cuban poetry.
26th A Stroll Through the Gardens ­ poet and botanist Edwin Wilson takes us through the Sydney Botanic Gardens.

For further details please contact the producers of Poetica:
Mike Ladd (08) 8343 4928
Krystyna Kubiak (08) 8343 4271
Or visit Poetica's website at

Tuesday, October 09, 2007




cordially invites you to the
official launch of the

Festival Patron FAY ZWICKY

his 2006 Tom Collins
prize winning poem

Saturday 13th October 2007
11.30am for 12.00pm
State Library Theatre
Alexander Library Building, Perth

Poetry Readings
Fay Zwicky
Murray Jennings
Andrew Burke
Maureen Sexton

Program includes a ‘Welcome to Country’ by
indigenous artists, speeches and a Tribute by
the FAW—Drinks & Nibbles

Friday, October 05, 2007

SALT Reading @ Planet Books

Last night, Andrew Taylor, Dennis Haskell and Rod Moran read from their SALT collections at Planet Books, in Mount Lawley.

There was a small crowd, including Mike Williams, Frances Macauley-Ford, Beate Josephi, Rhonda Haskell, Donna Ward, Ron Sims ... and many others. It's a great bookstore, and one which proudly stocks contemporary poetry on its shelves. Alan Sheardown of Planet Books organised and compered the reading.

All three poets had won Premier's Awards in recent years, so it was a quality evening.

Thursday, October 04, 2007

At Reflections B'n'B, Broome

Another guest on the verandah ... The household's faithful watchdog ... and the view ...

Wednesday, October 03, 2007


Saturday 13 October

midday to 2.30pm


Official Opening


MC: Murray Jennings

Readings by -

Festival Patron FAY ZWICKY





Saturday 13 October


Panel Discussion

2.30 to 4.30pm


Great Southern Room






Friday 19 October

Launch of


7.30PM to Late







cnr James & William Streets