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The title of Bruce Dawe’s first collection, No Fixed Address (1962), pointed to an early working life of innumerable casual jobs. This was covered to some extent in Stephany Steggall’s excellent biography, Bruce Dawe: Life Cycle (2009). As the working life of an Australian poet, this would be incomprehensible now (it seems closer to the world of John Shaw Neilson), but I mention these early details to point out that one way of looking at this new book, Slo-Mo Tsunami, is to see it as occurring half a century after Dawe’s first, fifty years during which Dawe has been one of Australia’s most loved and respected poets.
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