Brendan Ryan

Mark Tredinnick’s much-anticipated first collection of poetry, Fire Diary, is an examination of place and how to respond to it. The title provides a clue to the form of the book; many poems chart the daily exigencies of living within nature. More importantly, the collection explores the moods and aspirations of the self ...

There has been something of a fashion in recent years to dismiss what might loosely be called ‘rural’ poetry because the vast majority of Australians live in cities near the coast. Nevertheless, ‘rural’ poetry keeps appearing, and not just in the works of Les Murray. A considerable number of Australian poets are only one generation away from the land (even John Tranter was born in Cooma), and their childhood memories can often be a rich resource. Admittedly, there are not many actually working it; the reasons for this are often at the core of their poetry. A few perhaps are inclined to be nostalgic (even sentimental) but there is also, as Craig Sherborne has observed, an ‘anti-pastoral strain in Australian poetry’. Among the more recent exponents of this tradition are the late Philip Hodgins, John Kinsella (in his wheat belt poems) and, to judge from A Paddock in His Head, the Victorian poet Brendan Ryan.

Geoff Page’s latest poetry collection is a wide-ranging survey of some of the issues affecting contemporary Australian life. Underpinning Page’s poems of cafés, apartments, classical music, outback murders and domestic violence is a meditation on approaching mortality and the very idea of belief. In Page’s previous collection, Darker and Lighter (2001), the troubling nature of belief was hinted at in ‘Credo’: ‘The dark-night-of-the-soul-agnostic / prefers the right to doubt. / The world’s too much beset by those / who know what they’re about.’ Five years later, Page’s reflections on belief and the loss thereof return like echoes from a bell. In the fine poem ‘At Tosolini’s’, Page contrasts the diners’ penchant for coffee with the sound of bells ringing at a nearby church: ‘The sound of bells in autumn air / has long since been a thing / that we can never quite believe / and yet we don’t despair.’ Page’s use of the inclusive pronoun ‘we’ assumes much, and perhaps speaks for those who no longer believe.