Note
Selected Poems
The poet has no identity
Why I don’t like being photographed
Ode
Poetry you never lied to me
Beasts
Quickening
I Family Notes
II Love Poems
III Howl
IV Domestic Art
Emily Bronte
The Elwood Organic Fruit and Vegetable Shop
Amplitudes
Poem for John
Ode to Walt Whitman
All Souls Day
A flower
Billie Holiday
Lindy
Chekhov in Sakhalin
November burning
The page cannot be found
after Arseny Tarkovsky
The Gift
Coma
Songs of a Quiet Woman
Attempts at being
Beginning again
Pause
Leaves
Cassandra
The Edgeless Page
Seduction Poem
Fairytale
Sonnets
Sonata
Angels
Failures
A unicorn
Names
On the First Period after Pregnancy
Small Things
Of prayer
Wars
Translations from Nowhere
Pain
Colours
Beauty
The beast
All that nature
Some steps
Songs of a dictator
1: He woos his mistress
2: He regrets his youth
3: His philosophy
Poems for Television
A Requiem
Introit
Dies Irae
Offertory
Communion
For Ben
Notes
What the Glove Said
Bird
Prologue
Untitled
Cuneiforms
Ars Poetica
Nights
Aubade
Divinations
Nude with mirror
Yet
Tracing the damage
Afterwards
They do not arrive in time
In a restaurant
On the Death of God
Enduring freedom
La Belle Dame
Rising from Aquifers
Owl Songs
Medea
I will write
Flames
A digression
This window
Saint
Witchcharm
Poem for Zoe
The wind
Money
Language
Where are the dark woods?
Mnemosyne
Phrases
Suttee
From the West Gate Bridge
I like to think about my beloved
Once upon a time
The letters of the good mothers
Poetry on tv
Thoreau in Chernobyl
Persephone
In the hour of dogs
The virgin bride
Euterpe
Mayakovsky
Words
A History of Rain
To break a silence
Specula
Visions of the world’s surface
Of Margery of Kempe I
Of Life’s Mys(t)eries
Of Margery of Kempe II
The Unknown Language
Of Margery of Kempe III
Dance of the Seven Veils
Of Margery of Kempe IV
The Kingdom
O my america
If in foregone times
There are breakages certainly
Why I Am Not A Scientist
Bees
Couplets
Alley
Schwittering
Theatre
Goodnight, sweet prince
Iseult
Possible Elegies
On lyric
Notes on the poems
Alison Croggon’s poetry has been widely published in journals
in
Australia and internationally, and is included in many major
Australian anthologies. Her first poetry collection, This is the
Stone, won the Anne Elder and Dame Mary Gilmore Prizes. The Blue
Gate was a finalist for the Victorian Premier’s Poetry Prize.
Attempts at Being was shortlisted for the NSW Premier’s Literary
Awards Poetry Prize and was nominated for a Pushcart Prize in the
US. Her poetry has been set to music by several composers and she
has written many libretti, including
Mayakovsky, for an opera by Michael Smetanin, which was a finalist
for the Victorian Premier’s Awards Drama Prize, and The Riders, for
Iain Grandage, which was named Choral/Vocal Work of the Year in the
Australian Art Music Awards.
She is the author of the popular fantasy series The Books of
Pellinor. Other novels include The River and the Book, a finalist
in the WA
Premier’s Awards and winner of the Environmental Writing for
Children Award; Black Spring, a finalist in the NSW Premiers
Literary
Awards; and Navigatio. She is also a performance critic, and in
2009 was named the Geraldine Pascall Critic of the Year. She lives
in
Melbourne, Australia, with her husband, the playwright Daniel
Keene, with whom she is co-writing a new speculative fiction
series.
Her previous poetry collections are Theatre (Salt Publishing 2008),
Torque (Ahahada Press, 2008), Ash (Cusp Books, Los Angeles 2005);
November Burning (Vagabond Press Rare Objects Series, Sydney,
2004); The Common Flesh: New and Selected Poems (Arc Publications,
UK, 2003), Attempts at Being (Salt Publishing, UK, 2002), Mnemosyne
(Wild Honey Press, Ireland, 2001); The Blue Gate (Black Pepper
Press, 1997) and This is the Stone (Penguin Books, 1991).
For more information visit alisoncroggon.com
"Alison Croggon is one of the most powerful lyric poets writing today." - Australian Book Review "It is in the supra-personal realm that these two most interestingly experimental poets [MTC Cronin and Alison Croggon] seem to be going. Their lyric 'I' is not the often vapid, dull but clever 'I' or lack of it that often prevails in some curiously passive male poetry. Both accord with Tielhard de Chardin who, in The Phenonenon of Man, states: 'To be fully ourselves it is...in the direction of convergence with the rest that we must advance - towards the other'. They have poetic voices flexible enough to avoid the fixity and biographical connection that makes the first person problematic. ...These poets transcend the lyric 'I', not by defusing it in a polymorphous voice, but by being innovative. They accept the solipsism of existence and the consequent emotive authority of the self as the traditional core of what constitutes poetry. Yet they are profoundly liberated from the oppressive politics of the narrow self." - Patricia McCarthy, Agenda "Alison Croggon's poetry is distinguished by passion, intelligence and intense moral honesty." - George Szirtes
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