Happy news! My poem “split and shaped” has won the 2019 Ros Spencer Poetry Prize and is published online here. I wrote it while doing an online course with the Poetry School. It was inspired by visiting England, where I was born. The competition was judged by Dennis Haskell.
The emptied bridge, my fourth full-length poetry collection.
… We’re the flensing edge
of any of a hundred
We’re the cornea
of a boy bodysurfing
outlet pipe …
The poems in Jackson’s fourth full-length collection explore themes of environment, society, gender, sexuality, parenthood, and daily life: the climate change of the world and the self. This is crafted, literary poetry, aware of its contemporaries and antecedents; yet these are poems that anyone with reasonable English can read or perform, that can break free from their author, go out and do work in the world. They encode rhythm and intonation along with possibilities of meaning. Their music will alter the atmosphere in your head. (Publisher’s description)
The emptied bridge explores isolation, connection, and landscapes internal and external. It is a wide-ranging collection that plays throughout with form, rhythm and technique. The poems are infused with intelligence, humour and a deep longing. Sometimes the language is haikuesque, delicate and light, sometimes it is philosophical or matter-of-fact, and often it is charged and raw. Jackson’s distinct voice captures the poignancy of loss and hope and the consolations of music, nature and colour. Edgy, visceral and muscular, The emptied bridge bravely carries its reader through experiences of shadow and light.
— Julie Watts (Legacy, UWA Publishing 2018, winner of the Dorothy Hewett Award for an Unpublished Manuscript)
A coat of ashes, my third full-length poetry collection, which draws from Daoism, physics, systems theory and more.
From the title poem:
…The pure tone
of each electron
The pure functions
The math inside the atom
The muscles connecting
the trunk to the legs
The tendons connecting
the moon to the earth
The ligaments connecting
the brain to the bones
A coat of ashes
Jackson’s new collection traverses science and spirituality, philosophy and matter. Drawing from physics, systems theory, Daoism and more, it contemplates profound questions about our place within a world of being. With deft silences and fine observations, these poems explore both modern and ancient paths to knowledge, seeking to ‘fully apprehend nature, including our fellow beings, and foster a reverent respect for it’. (Publisher’s description)
This collection, richly suffused with a personal metaphysics, delicately balances the most crucial aspects of being on a bridge between dark and light. One feels that the words in A coat of ashes might be written and received on the skin.
— Dominique Hecq
Jackson’s work is both original and rooted in a number of poetic traditions, which it deftly fuses. The poems in A coat of ashes are beautifully composed, coherent and crystalline. This rich, creative work makes a genuine contribution to contemporary poetry.
— Fiona Sampson MBE FRSL
Published in 2019 by Recent Work Press. 98 pages. ISBN 9780648404231
My doctoral thesis A coat of ashes: A collection of poems, incorporating a metafictional narrative – and – Poetry, Daoism, physics and systems theory: a poetics: A set of critical essays is now available on Edith Cowan University’s research repository. https://ro.ecu.edu.au/theses/2125/
Because they are to be published in 2019 as a book (“A coat of ashes”, Recent Work Press) the poems are not included, except those used as examples in the final essay. However, the thesis includes links to those poems that have been published online.
A coat of ashes and Poetry, Daoism, physics and systems theory: a poetics
This thesis comprises a book-length creative work accompanied by a set of essays. It explores how poetry might bring together spiritual and scientific discourses, focusing primarily on philosophical Daoism (Taoism) and contemporary physics. Systems theory (the science of complex and self-organising systems) is a secondary focus of the creative work and is used metaphorically in theorising the writing process.
The creative work, “A coat of ashes”, is chiefly concerned with the nature of being. It asks, “What is?”, “What am I?” and, most urgently, “What matters?”. To engage with these questions, it opens a space in which voices expressing scientific and spiritual worldviews may be heard on equal terms. “A coat of ashes” contributes a substantial number of poems to the small corpus of Daoist-influenced poetry in English and adds to the larger corpus of poetry engaging with the sciences. The poems are offset by a metafictional narrative, “The Dream”, which may be read as an allegory of the writing journey and the struggle to combine discourses.
The four essays articulate the poetics of “A coat of ashes” by addressing its context, themes, influences, methodology and compositional processes. They contribute to both literary criticism and writing theory. Like the creative work, they focus on dialogues between rationalist or scientific discourses and subjective or spiritual ones.
The first essay, “An introduction”, discusses the thesis itself: its rationale, background, components, limitations and implications. The second, “Singing the quantum”, reviews scholarship discussing the influence of physics on poetry, then examines figurative representations of physics concepts in selected poems by Rebecca Elson, Cilla McQueen and Frederick Seidel. These poems illustrate how contemporary poetry can interpret scientific concepts in terms of subjective human concerns.
The third essay, “Let the song be bare”, discusses existing Daoist poetry criticism before considering Daoist influences in the poetry of Ursula K. Le Guin, Randolph Stow and Judith Wright. These non-Indigenous poets with a strong awareness of the sciences have, by adopting Daoist-inflected senses of the sacred, been able to articulate the tension engendered by their problematic relationships with colonised landscapes. Moreover, the changing aesthetic of Wright’s later poetry reflects a struggle between Daoist quietism and European lyric commentary.
The final essay, “Animating the ash”, reflects on the process of writing poetry, using examples from “A coat of ashes” to construct a theoretical synthesis based on Daoism, systems theory and contemporary poetics. It proposes a novel way to characterise the nature and emergence of the hard-to-define quality that makes a poem a poem. This essay also discusses some of the Daoist and scientific motifs that occur in the creative work.
As a whole, this project highlights the potential of both the sciences and the more ancient ways of knowing — when seen in each other’s light — to help us apprehend the world’s material and metaphysical nature and live harmoniously within it.