29,999 research outputs found
Travis Magee
No full textPresident Bill Perry, Travis Magee, VP of Business Affairs Paul McCannhttps://thekeep.eiu.edu/years_of_service_2015/1115/thumbnail.jp
The Edge of Reality: Paul Magee in Conversation with Paul Collis, Jen Crawford and Wayne Knight
No full textThe idea is to compose a whole book by speaking it. Spoken on Barkindji and Nyemba Country by a Barkindji elder, academic and poet (Paul Collis), in dialogue with two white poet-academics (Jen Crawford, Paul Magee) and five local Barkindji, Kunya and Nyemba interlocutors (Gertie Dorigo, Bradley Hardy, Margaret Knight, Wayne Knight, Brian Smith), taped and transcribed, A Book that Opens provides a book-based archive of oral intellectual practice on Country along the Darling / Baarka River in outback New South Wales.Many of the book’s discussions concern care for that Country. For instance, in Chapter 9 curator Bradley Hardy of the Brewarrina Aboriginal Cultural Museum takes us on a tour of the stone Fish Traps at Brewarrina, which are older than the Pyramids (Heritage NSW 2014). Palpable evidence of the industrial aquaculture practised throughout the riverine environments of pre-Conquest Australia, the Fish Traps served to maintain gatherings of up to 5,000 people in their flourishing, and they did so sustainably (Dargin 1976).But the book is also – because of the simple insistence of our work as poets, and the nature of the topics that arise when we chat – about poetry, and in particular about the relation of speaking to the emergence of lines on the page.The question of transcription comes into this. Though it is popularly imagined to be an automatic act, a verbatim rendering of speech in fact makes subjects appear illiterate. A downside of the transcription of Aboriginal English is its tendency to platform just this feature, as if white speakers were not similarly ‘oral’ when conversing. In fact, repetitions, false starts, a-sentential utterances and filler words characterise speech in all registers, whoever the speaker (Halliday 1985). At the same time, oral dialogue at venues like academic conferences constitutes a key driver of new ideas (Jakobson and Pomorska 1988), in ways the printed word simply cannot. Witness how important academics and professionals everywhere found it to maintain oral interactions online in the face of COVID, through Zoom and other such albeit impoverished technologies. We are actually all from oral cultures, however much our ideologies, on the one hand, and our once radical stances on the topic of ‘writing’ on the other, tend to obscure the fact. For all these reasons, Indigenous conversational practices stand side by side with various modes of academic speaking through the length of A Book that Opens, blurring the artificial boundaries we place between them, allowing a new set of differences to emerge.The book accordingly begins – Chapter 1 – in an improvised seminar presentation, given on the 29th of August, 2022 at the University of Canberra. Over those pages we and our various interlocutors on campus consider the strategies we have thought up to bring narrative consistency to A Book that Opens, given that the conversations that course through it are, effectively, being made up on the spot. But nothing is really made up on the spot. The rivers of story and pre-given phrasing from which everyday speech emerges, in European and indigenous cultures alike, contour that presentation, as much as they contour the chapters that follow. Chapter 2, taking to the road, is set on the way from Canberra out to Bourke and captures a set of uncannily postcolonial ghost stories told by the tow truck driver who rescued and then disturbed us, when we broke down past Dubbo. Chapter 3 is the first set on Barkindji Country. It begins at a turning circle, a few metres from the entrance to Gundabooka National Park. WK Knight, a Barkindji / Kunya man and former Parks and Wildlife Cultural Officer, joins us at this point. We discuss why we are standing outside Barkindji ancestral lands, and cannot go in. Chapter 4, which follows immediately below, was composed later that afternoon, when we stopped at an Information Shelter on the red dirt road back to Bourke
Magee CCC Lumbermen
No full textTwo CCC men using a crosscut saw to saw a log while a third man watches. Back of photo reads: ""'Inky' Ingerlund (left) USFS, Pappy Dejarnette Cloverport (KY), Paul Newby, Louisville (KY) Magee 1935"".F-134C-54
Suddenness and the composition of poetic thought/ Paul Magee.
No full textIncludes bibliographical references and index."Employing an extensive archive of interview materials with major Anglophone poets, this book uncovers how they think in the moments of composition, providing a lucid account of the links between poetic composition and live performative thinking"--1 online resource
Considerations on the immediacy of poetic thought
No full textWhy does poetic verse generate such a heightened sense of immediacy? Aristotle’s discussion of energeia (‘vividness’) in his Rhetoric suggests the effect is attributable to poetry’s reliance upon inherently incomplete devices – metaphor is a prime example – which seduce the reader into participating in the generation of the work. The poem’s vividness and sense of real-time unfolding are on this account due to the reader’s misrecognition of their own sense of embodied temporality, as they creatively raise the work from the page. What this traditional explanation ignores is the possibility that there is something more immediate about the act of writing in lines than in prose in the first place. The paper turns to certain non-Chomskyan linguists who have argued that when speaking we generate our utterance in sub-sentential chunks, and that these typically clausal chunkings are reflective of our extremely narrow window of conscious attention. We simply cannot hold all we would like to say in mind and cannot even grasp quite what verbal form it will take until we actually say it. Revealingly, these linguists tend to lineate their transcripts. Their work suggests that lines of verse bring us closer to an embodied sense of the cognitive constraints contouring real-time utterance than do the multiple recalibrated and revised sentences of prose writers. Biographical note: Paul Magee is the author of Stone Postcard (2014), Cube Root of Book (2006) and the prose ethnography From Here to Tierra del Fuego (2000). His second monograph, Suddenness and the Composition of Poetic Thought will be published in Rowman and Littlefield’s Performance Philosophy series in April 2022. Paul is Associate Professor of Poetry at the University of Canberra.</p
Conversations with Paul Auster
No full textInterviews with the author of The New York Trilogy, In the Country of Last Things, and The Brooklyn Follies.Cover -- Contents -- Introduction -- Chronology -- Translation -- Interview with Paul Auster -- An Interview with Paul Auster -- Memory's Escape-Inventing the Music of Chance: A Conversation with Paul Auster -- The Making of Smoke -- The Manuscript in the Book: A Conversation -- An Interview with Paul Auster -- The Futurist Radio Hour: An Interview with Paul Auster -- Paul Auster: Writer and Director -- Off the Page: Paul Auster -- Paul Auster: The Art of Fiction -- Jonathan Lethem Talks with Paul Auster -- A Conversation with Paul Auster -- The Making of The Inner Life of Martin Frost -- Interview: Paul Auster -- A Connoisseur of Clouds, a Meteorologist of Whims: The Rumpus Interview with Paul Auster -- Interview: Paul Auster on His New Novel, Invisible -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Y -- ZInterviews with the author of The New York Trilogy, In the Country of Last Things, and The Brooklyn Follies.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
Portrait of Paul Ham at the National Library of Australia, 15 November 2011 /
No full textTitle from nformation supplied by photographer.; Part of the collection: Podcast photograph of author Paul Ham at the National Library of Australia, 15 November 2011.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
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