|Gabrielle Anwa y Al Pacino|
Al Pacino / Gabrielle Anwa
Scent of a Woman
Poster by T.A.
faces two directions, wishing to reconstitute experience through an act of writing which uses the tools of one culture or society and yet seeks to remain faithful to the experiences of another. (59)
Sprawl is doing your farming by aeroplane, roughly ...
Sprawl occurs in art. The fifteenth to twenty-firstlines in a sonnet, for example.Sprawl gets up the nose of many people ...
how much larger and richer our dialect is than many had thought ... gently but firmly shifting our linguistic perception, so that our entire language is henceforth centred for us, not thousands of miles away, but here where we live.
.. Even the claim I make at times
to write Gaelic in English wordswould make you sniff (but also smile),
but my fathers were Highlanders long ago
then Borderers, before this landfall …
Oh! there once was a swagman camped in the Billabong,
Under the shade of a Coolabah tree;And he sang as he looked at his old billy boiling,"Who'll come a-waltzing Matilda with me?"
"I stuck with the longer and mightier title for a little while, quickly coming to the conclusion that it was too large a title for that short poem … The poem felt more comfortable with its less grandiose name "The Mitchells": that's a surname with some resonance in Oz, partly from the splendid white Major Mitchell cockatoo, partly from the real surname of Dame Nellie Melba [soprano], partly from the venerable Mitchell Library in Sydney etc. etc. though I was mainly thinking of Joe Michell, an itinerant working in Henry Lawson's short stories. The poem did stand as a sort of epigraph to Ethnic Radio [see Bibliography], in which the ethnicity I meant was an Australian one."
"As to my attitude to the sonnet back then, I dimly recall preferring the Petrarchan to the Shakespearean because the Petrarchan tended to integrate the last six lines into the poem, even after a strong volta, while a Shakespearean one might be no more than 12-lines with a pat concluding couplet, like the rhymed couplet that often the end of a scene in one of the plays. But I was never very steamed up about all that, and I can't recall being very political about subverting the sonnet form, if indeed that's what I did. Maybe I was grinning to myself just a little though—I was still at war with the dimensions of Empire and Posh back then …"