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Quemar Press' new English translation of Marie de France's twelfth-century Anglo-Norman French Romance, Chevrefoil - Honeysuckle - is now a complete book with a Preface and an ISBN, and is available as a free download on our Books page.
From the Preface: [This work] seems to re-imagine the traditional tragic Romance of Iseult and Tristan, in a chosen catalytic space - deep in a forest where the heroes interlink in communication and affection: just as, Marie writes, the honeysuckle vine of the title entwines with hazel. |
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Devoted to leading a revolution, devoted to each other. Their passion freed a continent.
Meeting Each Other Alive - Quemar's new translations from the letters between Manuela Sáenz and Simón Bolívar, great leaders of the nineteenth-century South American Revolution - is available now. More information and a new Sampler are on the Books for Purchase page. From Quemar's Press Release: Throughout their letters, whether in spontaneous affection, finding solutions to slander and untruths, or defining facets of revolution, their voices never sound disillusioned. Neither of them died in disillusionment. Making plans to travel with Sáenz, Bolívar died in 1830. After Bolívar's death, Sáenz survived exile and went to the North of Peru, where she decided to live in Paita, on the coast. She gave her correspondence with Bolívar to one of his generals, O'Leary, who was writing a biography. With her long career as his archivist, Captain of Hussars and, ultimately, Colonel, she knew the importance of word and action. As a revolutionary, she knew the importance of incorruptible voices in history. |
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Quemar Press' new English translation of Marie de France's twelfth-century Anglo-Norman French Romance, Le Fresne - The Ash Tree - is now a complete book with a Preface and an ISBN, and is available as a free download on our Books page.
In this lai, spontaneous affection overcomes conceptual rejection. |
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Biological Necessity - a 2021 collection of new poems by Jennifer Maiden - is officially released now and available for purchase on the Books for Purchase page From Quemar's Press Release: This new collection of poems reflects Aneurin Bevan's observation that 'Socialism is a biological necessity'. Here, socialism branches out from being a necessity to being the human condition itself, or survival's impulse... In this space, biological necessity is not only something physical, psychological or spiritual - it is also something empathetic and practical, the elements of a discourse in lyricism and humanity between poet and reader. |
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Quemar Press' new paperback is now available, Jennifer Maiden's The Cuckold and the Vampires: an essay on some aspects of conservative political manipulation of art and literature, including the experimental, and the conservatives' creation of conflict. It can be purchased from the Books for Purchase page.
From Quemar's Press release: ...She has stated that it was created to be discursive and explorative in order to help widen the perspective of both sides of the political spectrum. The work discusses some of the vast history of conservative influences and persuasions in art, from medieval Europe to contemporary America, Europe, Asia and Australia. The essay's warm, enjoyable, astute and witty tone humanises political forces, institutions and players.... This essay acts as a platform to give an artistic overview, to deconstruct microcosmal, interpersonal powerplay and rejection. In spite of any labyrinth or lure, here neither art nor artist are lessened by the impact of political manipulation, and candid respect for art is at one with the artist's survival. |
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All She Resolves to Rescue is now available - a paperback presenting Marie de France's medieval romances Lanval and Guildeluec and Guilliadon (known as Eliduc) in Quemar Press' new Modern English translation, with the original Anglo-Norman French, and a subjective essay on the translations. The paperback can be purchased on the Books for Purchase page.
From Quemar's Press Release: The title All She Resolves to Rescue has two senses. On one level, the female heroes in these texts discern all that needs to be rescued. On another level, the rescues affect all, connecting disparate worlds surrounding them. Here, a sprite-like Lady can tell the Knight Lanval that she could never appear visible before him again if he let anyone know of their affection, but when her existence and her actual presence are the only things that can rescue him from the Court's corruption, she rides openly through the city, having decided to speak unconcealed before Lanval and the Court. In a similar way, with similar emancipatory energy, Guildeluec - the wife of the titular Knight Eliduc - can decide to revive the Lady whom Eliduc loves, who was hidden to her until that day... |
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Jennifer Maiden's new 75-page The Cuckold and the Vampires: an essay on some aspects of conservative political manipulation of art and literature, including the experimental, and the conservatives' creation of conflict is now available on the Books page with an ISBN as a free download.
Maiden has observed: ‘One purpose of the essay is to try to warn against microcosmic unwariness in a situation where overwhelming macrocosmic forces are at play…there are all sorts of twists and turns during the course of my essay. My focus is on the wider causes of damage and the nature of power in art… we will continue to try here to respect what Pinter considered mandatory and to smash the mirror of the microcosm, to try to look at the macrocosm behind it.’ The essay is immense in scope and immensely enjoyable, astute and witty. |
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Quemar Press' new Modern English translation of Marie de France's Guildeluec and Guilliadon ( a romance known as Eliduc) with a new Preface by the translator now has an ISBN, and is available as a free download on the Books page.
From Quemar Press' Preface:
'Near the story's conclusion, the narrator explains '"they all made such effort/...so made their ending beautiful completely". Here, effort belongs to both natural force and protagonist, whether it is a storm forcing necessary truth to be revealed, or someone actively on watch over one she resurrected. Whether in a wave-torn ship, or unfolding and enfolding forest depths, this is a story where humane survival, affection and rescue come from action and deliberation, to surpass societal concepts such as roles in relationships, marriage and rivalry.'
From Quemar Press' Preface:
'Near the story's conclusion, the narrator explains '"they all made such effort/...so made their ending beautiful completely". Here, effort belongs to both natural force and protagonist, whether it is a storm forcing necessary truth to be revealed, or someone actively on watch over one she resurrected. Whether in a wave-torn ship, or unfolding and enfolding forest depths, this is a story where humane survival, affection and rescue come from action and deliberation, to surpass societal concepts such as roles in relationships, marriage and rivalry.'
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Jennifer Maiden's collection The Espionage Act: New Poems (2020) - available now
It can be purchased on the Books for Purchase page. From Quemar's Press Release: The Espionage Act is the new poetry collection by the internationally renowned author, Jennifer Maiden. With her characteristic clear, powerful focus and crisp but sumptuous lyrical style, she analyses espionage in many senses - from the U.S. 1917 Espionage Act to reflections on the Deep State, to tactical levels in conservative espionage, to its sexuality of fear, to covert promotion and funding of experimental art, to espionage as survival, and to espionage's reactions to primal digital technology. Maiden also describes the mind itself in its multifaceted acts of espionage. |
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Quemar Press' new paperback, Workbook Questions: Writing of Torture, Trauma Experience, by Margaret Bennett and Jennifer Maiden, is now available. It can be purchased on the Books for Purchase page. Workbook Questions: Writing of Torture, Trauma Experience is designed to facilitate survivors of trauma and torture in writing of traumatic experiences, even if complex or untold, by using clinically planned questions to create a space where the survivor's sense of self and identity can remain securely intact. |
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Quemar Press' lively new far-reaching paperback, Once She Had Escaped the Tower, is available now, and can be purchased on the Books for Purchase page.
From Quemar's Press Release:
The title 'Once She Had Escaped the Tower' has two meanings: once a lady escaped an imprisoning tower resolutely; and the lady continued her actions after escape. In contrast to literature in which a female hero dies captive in a tower, and to works in which her escape signals the end of narrative, Quemar Press’ new volume shows female protagonists’ survival, and casts light on them as they continue. This volume includes two texts encompassing this ability to continue: Medieval French chantefable 'Aucassin and Nicolette' and Marie de France’s Anglo-Norman Romance 'Gugemer'. Quemar's Modern English translations are juxtaposed with the early French texts. This volume also includes a subjective essay by the translator.
From Quemar's Press Release:
The title 'Once She Had Escaped the Tower' has two meanings: once a lady escaped an imprisoning tower resolutely; and the lady continued her actions after escape. In contrast to literature in which a female hero dies captive in a tower, and to works in which her escape signals the end of narrative, Quemar Press’ new volume shows female protagonists’ survival, and casts light on them as they continue. This volume includes two texts encompassing this ability to continue: Medieval French chantefable 'Aucassin and Nicolette' and Marie de France’s Anglo-Norman Romance 'Gugemer'. Quemar's Modern English translations are juxtaposed with the early French texts. This volume also includes a subjective essay by the translator.
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Quemar's complete Modern English translation of Lanval, Marie de France's Medieval French Romance, is now available as a free download on our Books page with an introduction.
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brookings: the noun, Jennifer Maiden's new poetry collection from Quemar Press, is now available in paperback and electronic editions from the Books for Purchase page.
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The final novel in Jennifer Maiden's Play With Knives Quintet, George and Clare, the Malachite and the Diamonds, is available now from Quemar Press.
At the Books for Purchase page, you can find information on how to purchase or obtain it.
From Quemar's Press release:
The last novel in Jennifer Maiden's Play With Knives Quintet, George and Clare, the Malachite and the Diamonds experiments across poetry, prose, style, person, action and sense of self.
Clare was the central character in what the Oxford Companion to Australian Literature calls Maiden's 'impressive' first Play With Knives novel. Set in Sydney's Western Suburbs, it was first published in 1990, and centres on Clare and George's survival as Clare is released from prison. The Quintet outlines the growth of these characters...
Whether in Russian winter light, or the light of a Mount Druitt mall at midnight, this work experiments to create platforms where aspects of reality or experience can integrate, as they move between a sense of self and overview, between action and the ability to transcend it.
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At the Books for Purchase page, you can find information on how to purchase or obtain it.
From Quemar's Press release:
The last novel in Jennifer Maiden's Play With Knives Quintet, George and Clare, the Malachite and the Diamonds experiments across poetry, prose, style, person, action and sense of self.
Clare was the central character in what the Oxford Companion to Australian Literature calls Maiden's 'impressive' first Play With Knives novel. Set in Sydney's Western Suburbs, it was first published in 1990, and centres on Clare and George's survival as Clare is released from prison. The Quintet outlines the growth of these characters...
Whether in Russian winter light, or the light of a Mount Druitt mall at midnight, this work experiments to create platforms where aspects of reality or experience can integrate, as they move between a sense of self and overview, between action and the ability to transcend it.
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Quemar's full Modern English translation of Gugemer, Marie de France's Medieval French Romance, is now available on our Books page with an introduction. It is a free download.
Quemar Press' unique study of the post-war Surrealist artist, Vera Rudner, is now available for purchase on the Books for Purchase page.
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Play With Knives: Three & Play With Knives: Four - Jennifer Maiden's recent, cutting-edge novels in poetry and prose - are available in one paperback volume from Quemar Press.
It is available for purchase on the Books For Purchase page.
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It is available for purchase on the Books For Purchase page.
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Jennifer Maiden's awaited new selected from Quemar Press, Selected Poems 1967-2018 is now available for purchase on the Books for Purchase Page.
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Jennifer Maiden's Play With Knives & Play With Knives: Two: Complicity in one 296 page paperback volume - now released from Quemar Press.
It can be purchased on our Books for Purchase page for $21.00 (Australian) with free postage worldwide.
It can be purchased on our Books for Purchase page for $21.00 (Australian) with free postage worldwide.
The complete novel, Play With Knives: Four: George and Clare, the Baby and the Bikies by Jennifer Maiden is now available as a free download from the Books page.
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The complete Medieval French Chantefable, Aucassin et Nicolette, translated and photo-illustrated by Katharine Margot Toohey, is now available as a free download on the Books page.
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Following support and requests from our readers, complete advance copies of Jennifer Maiden's new 150-page, 40-poem collection, Appalachian Fall: Poems About Poverty in Power, are now available for purchase from Quemar Press in our own exclusive print and electronic editions.
The editions can be purchased from our Books for Purchase page.
We have received several queries about the nature of the purchase. The advance copies are complete ones and the same as they will be in a shop. If in a shop, the Recommended Retail Price will be at least $21.00 and the electronic edition will not be included.
We are offering the book and download for $18.50, and the download by itself for $5.00. We are not charging postage anywhere. We are posting the book through Australia Post mail as soon as the order is placed, and it has always been received very promptly (there have been inquiries as to whether these were only advance orders). If the purchaser does not wish to use PayPal, other arrangements such as cheque can be made via our contact page, and we have already been happy to do so.
To clarify further, the collection has 22 more poems than the sampler, which can still be downloaded through the cover image on the Books for Purchase page. In the collection, but not in the sampler, are new poems such as those on Brigitte Bardot, Nora Barnacle, Bruce Beaver, Christopher Brennan, Vera Rudner, polar bears, carbon credits, Twin Peaks, May Holman, Carols at Kings, the poem as essay, Appalachian terrors, mountaintop mining and extraordinary autobiographical pieces.
The editions can be purchased from our Books for Purchase page.
We have received several queries about the nature of the purchase. The advance copies are complete ones and the same as they will be in a shop. If in a shop, the Recommended Retail Price will be at least $21.00 and the electronic edition will not be included.
We are offering the book and download for $18.50, and the download by itself for $5.00. We are not charging postage anywhere. We are posting the book through Australia Post mail as soon as the order is placed, and it has always been received very promptly (there have been inquiries as to whether these were only advance orders). If the purchaser does not wish to use PayPal, other arrangements such as cheque can be made via our contact page, and we have already been happy to do so.
To clarify further, the collection has 22 more poems than the sampler, which can still be downloaded through the cover image on the Books for Purchase page. In the collection, but not in the sampler, are new poems such as those on Brigitte Bardot, Nora Barnacle, Bruce Beaver, Christopher Brennan, Vera Rudner, polar bears, carbon credits, Twin Peaks, May Holman, Carols at Kings, the poem as essay, Appalachian terrors, mountaintop mining and extraordinary autobiographical pieces.
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In 2022, Quemar will publish a new English translation of Bernat Metge's late fourteenth century Catalan masterpiece, Lo Sompni (known as 'Lo Somni' in modern Catalan). This story about official persecution is a precursor to works such as Orwell's 1984.
A 41st preview, now comprising Books One and Two of Lo Sompni (The Dream), is available by clicking on the cover picture below.
Imprisoned in a dangerous setting for the murder of King John the First, Metge described spectral conversations with the dead King so that the text would persuade society of Metge's innocence. The intricate metaphysical debate in the dialogue reinforced the recognition that Metge was not regarded as guilty by the late King. There was also deliberate contextual irony in that the Metge persona continued to debate the existence of the spiritual afterlife with the vibrant spirit of the King, Metge then having moved on to the subject of the survival of animals' souls, for which survival he argued against the King, if still needing to display deference. There was a new facet of irony here, as the reader already knew that the King is accompanied by spectral birds and hounds. Whilst Metge at last appeared to accept the King's more orthodox position, the work allowed him to present his own broader humane perceptions in a safe context. The scene was set for their dialogue to continue, although the King warned Metge to be succinct, as the King could not stay long. In Book Two, the concept becomes even more direct and daring, as Metge begins to question the King about the circumstances of the King's death, and the nature of death and fear. The King then recounts his experience in trying to justify his position in the medieval Papal Schism to the Devil, before being assigned to Purgatory. The Humanist Metge continues to use traditional medieval theology to give verisimilitude to the King's situation in persuading the audience of the work's supposedly orthodox nature, and Metge's innocence of killing the King, whilst Metge's own persona remains courteously questioning about the theology. The King is given more verisimilitude by his recounting of his own debate with the Prince of Evil Spirits about Papal conflict between Rome and Avignon. In this, the King describes learning that his own involvement and lack of impartiality in that factional Schism encouraged it for selfish reasons, when the conflict should have been democratically controlled. The intricate narrative continues as Metge recounts the King's story of how the Virgin Mary argued against the Prince of Evil Spirits so that the King's soul was saved for Purgatory, although all the souls of earthly Princes, including the King's father, must remain there until the Schism ends. As Metge creates this narrative, a driving purpose of it is to build verisimilitude and a sense Metge's innocence through the dialogue with the authoritative but affectionate voice of the King. The dialogue then convincingly develops the strength of Metge's relationship with the King, who asks Metge to construct this narrative and to reassure the surviving Queen Violant and Princess Yolande (who was later to be known as the 'Queen of Four Kingdoms' and sponsor of Joan of Arc) about the King's circumstances in purgatory. Book Two concludes as Metge is introduced to to the mysterious men who accompany the King: the old man, Tiresias, and the young man, Orpheus.
A 41st preview, now comprising Books One and Two of Lo Sompni (The Dream), is available by clicking on the cover picture below.
Imprisoned in a dangerous setting for the murder of King John the First, Metge described spectral conversations with the dead King so that the text would persuade society of Metge's innocence. The intricate metaphysical debate in the dialogue reinforced the recognition that Metge was not regarded as guilty by the late King. There was also deliberate contextual irony in that the Metge persona continued to debate the existence of the spiritual afterlife with the vibrant spirit of the King, Metge then having moved on to the subject of the survival of animals' souls, for which survival he argued against the King, if still needing to display deference. There was a new facet of irony here, as the reader already knew that the King is accompanied by spectral birds and hounds. Whilst Metge at last appeared to accept the King's more orthodox position, the work allowed him to present his own broader humane perceptions in a safe context. The scene was set for their dialogue to continue, although the King warned Metge to be succinct, as the King could not stay long. In Book Two, the concept becomes even more direct and daring, as Metge begins to question the King about the circumstances of the King's death, and the nature of death and fear. The King then recounts his experience in trying to justify his position in the medieval Papal Schism to the Devil, before being assigned to Purgatory. The Humanist Metge continues to use traditional medieval theology to give verisimilitude to the King's situation in persuading the audience of the work's supposedly orthodox nature, and Metge's innocence of killing the King, whilst Metge's own persona remains courteously questioning about the theology. The King is given more verisimilitude by his recounting of his own debate with the Prince of Evil Spirits about Papal conflict between Rome and Avignon. In this, the King describes learning that his own involvement and lack of impartiality in that factional Schism encouraged it for selfish reasons, when the conflict should have been democratically controlled. The intricate narrative continues as Metge recounts the King's story of how the Virgin Mary argued against the Prince of Evil Spirits so that the King's soul was saved for Purgatory, although all the souls of earthly Princes, including the King's father, must remain there until the Schism ends. As Metge creates this narrative, a driving purpose of it is to build verisimilitude and a sense Metge's innocence through the dialogue with the authoritative but affectionate voice of the King. The dialogue then convincingly develops the strength of Metge's relationship with the King, who asks Metge to construct this narrative and to reassure the surviving Queen Violant and Princess Yolande (who was later to be known as the 'Queen of Four Kingdoms' and sponsor of Joan of Arc) about the King's circumstances in purgatory. Book Two concludes as Metge is introduced to to the mysterious men who accompany the King: the old man, Tiresias, and the young man, Orpheus.
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One of Quemar's goals is to help make vibrant and vital literature accessible, and with that in mind, we are grateful for the enthusiasm for Quemar's Modern English translations. We can confirm that we will continue translating the work of Marie de France, Bernat Metge, Manuela Saenz and Simon Bolivar, and we're continuing our book-length work, Shining Moon, with translations of some medieval Asian Women's Literature, including Japan, China, Korea and India.
The 15th preview of the work can be read by clicking on the cover image above.
The 1st preview includes Modern English translation of an early Korean Sijo (a descriptive poem with theme and resolution) written by Hwang Jini - a poet and Kisaeng - with a description of the Sijo structure and translator's observations on the poem and the poet.
The 2nd preview includes Modern English translation of a poem written in Chinese verse by the Korean poet Heo Nanseolheon (protesting a seamstress' inhumane working conditions) and translator's observations. The 3rd preview includes translation of a poem about missing home by the Korean poet Shin Saimdang and a discussion of her work. The 4th preview features a translation of a poem by the great Chinese Song Dynasty poet Li Qingzhao. The 5th preview includes a translation of a work by Bao Junhui, a Chinese Tang Dynasty Court poet who powerfully describes the hardships of soldiers defending the northern border. The 6th preview begins a translation of Liu Rushi's long late Chinese Ming Dynasty story poem, Swordsmanship. Liu Rushi uses surreal and symbolic images and techniques based on her transgender personae (in real life, too, she enjoyed dressing as a man) to convey the metaphors and physicality of battle. The 7th, 8th and 9th previews continue and conclude the poem, as its world, progress and persona intensify.
The 10th preview casts light on fluid hierarchical roles of Chinese literature in the Heian period of Japan, and focuses on the work of the renowned writer Murasaki (c. 973 or 978 - c.1014 or 1031) and her Tale of Genji. The 11th preview looks further at the work of Murasaki, including her connection of physical place with spirituality. The 12th preview turns to the work of Sei Shonagon (Murasaki's contemporary), and its enjoyment of list-making and the expressions of incarnation and memory this involves. The 13th preview translates and discusses a multi-dimensional Tanka poem by Murasaki's daughter, Daini no Sanmi. The 14th preview turns to India and translates a vachana (spontaneous, spiritual and free form) poem by Akka Mahadevi (c. 1130-1160) from the Kannada language, in which the poet addresses Shiva, logically balancing images of intimate opposites. The 15th preview looks at the 8th or 9th century Indian classic Sanskrit poet Vijja and translates her poem in which she explains that the goddess Sarasvati is not just associated with whiteness but with skin tones like the blue lotus, as this is Vijja's own colouring.
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The 15th preview of the work can be read by clicking on the cover image above.
The 1st preview includes Modern English translation of an early Korean Sijo (a descriptive poem with theme and resolution) written by Hwang Jini - a poet and Kisaeng - with a description of the Sijo structure and translator's observations on the poem and the poet.
The 2nd preview includes Modern English translation of a poem written in Chinese verse by the Korean poet Heo Nanseolheon (protesting a seamstress' inhumane working conditions) and translator's observations. The 3rd preview includes translation of a poem about missing home by the Korean poet Shin Saimdang and a discussion of her work. The 4th preview features a translation of a poem by the great Chinese Song Dynasty poet Li Qingzhao. The 5th preview includes a translation of a work by Bao Junhui, a Chinese Tang Dynasty Court poet who powerfully describes the hardships of soldiers defending the northern border. The 6th preview begins a translation of Liu Rushi's long late Chinese Ming Dynasty story poem, Swordsmanship. Liu Rushi uses surreal and symbolic images and techniques based on her transgender personae (in real life, too, she enjoyed dressing as a man) to convey the metaphors and physicality of battle. The 7th, 8th and 9th previews continue and conclude the poem, as its world, progress and persona intensify.
The 10th preview casts light on fluid hierarchical roles of Chinese literature in the Heian period of Japan, and focuses on the work of the renowned writer Murasaki (c. 973 or 978 - c.1014 or 1031) and her Tale of Genji. The 11th preview looks further at the work of Murasaki, including her connection of physical place with spirituality. The 12th preview turns to the work of Sei Shonagon (Murasaki's contemporary), and its enjoyment of list-making and the expressions of incarnation and memory this involves. The 13th preview translates and discusses a multi-dimensional Tanka poem by Murasaki's daughter, Daini no Sanmi. The 14th preview turns to India and translates a vachana (spontaneous, spiritual and free form) poem by Akka Mahadevi (c. 1130-1160) from the Kannada language, in which the poet addresses Shiva, logically balancing images of intimate opposites. The 15th preview looks at the 8th or 9th century Indian classic Sanskrit poet Vijja and translates her poem in which she explains that the goddess Sarasvati is not just associated with whiteness but with skin tones like the blue lotus, as this is Vijja's own colouring.
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Quemar is happy to release seventeen early preview poems from Ox in Metal, an upcoming 2022 Quemar Press paperback collection of new poems by the author Jennifer Maiden.
Whilst the first poem, Murder, He Worried, is not graphic about violence, it refers to the hero Malcolm Turnbull's public doubts about the death of a possible assault victim, and his imagined discussion of this with his relative Angela Lansbury, shown as playing one of her famous roles: a woman detective and mystery writer. We therefore give a trigger warning for this poem.
The second poem It can't be easy, being Tabaqui, begins with a quote from Putin about the jackal in Kipling's Jungle Book, and examines the political context and symbolism of that animal's plight.
The third poem, Doctor Donne and the Country Women examines the current conflict in the Middle East and the NSW Government's policy on mice in terms of an imagined dual metaphor by John Donne and concludes with him delivering a sermon to the Country Women's Association before he leaves to address Mossad.
The fourth poem, There seems an easiness was inspired by the gift of Nadia Wheatley and Meredith Burgmann's very valuable book about 1960s protest, Radicals, and reflects on methods of dealing with deception and danger.
The fifth poem, Tritium the Mascot, is about Tritium, an actual mascot invented by the Japanese Government to promote their release of the radioactive atom Tritium in the Fukushima wastewater now being released into the ocean. Officially deemed too unserious, the Japanese mascot of the Tritium atom has been discontinued, but Maiden in the poem is able to console her own little mascot Brookings ( a pombat - wombat-possum cross - named after the Brookings Institution), who is an anime enthusiast, that Tritium the real atom will continue his adventures in the sea, and that she will tell Brookings stories about him. Maiden's endearing creation Brookings also appears in two of her recent collections, brookings: the noun and The Espionage Act.
The sixth poem, Fifty Years Gone, is a moving and inspiring work in which the late author Gore Vidal is imagined as visiting Julian Assange in Belmarsh prison after Assange's 50th birthday in July, 2021. This, too, is the 50th anniversary period of the publication of Daniel Ellsberg's Pentagon Papers, and in the poem Vidal thinks about Assange and also remembers 50 years ago, including Ellsberg and Norman Mailer. Maiden has already published poems about Vidal and Assange in two of her recent poetry collections, The Espionage Act and Biological Necessity.
The seventh poem, Death-Wish Moths, compares the dangerous life of a real moth, which has been at least temporarily rescued, to the self-chosen perils of intelligence assets who are often predictably betrayed by their employers and causes. Part of the poem's subject is contemporary Haiti.
The eighth poem, Pegasus, is an intense metaphorical lyric about the Pegasus hacking software - spyware - developed in Israel and marketed and licensed to governments around the world. The poem also develops the theme of assets who are betrayed.
The ninth poem, The Metal Ox and Proof of Life, features a dialogue between the author and a wise and enduring ox ( her sign in the Chinese horoscope), because this is the Year of the Ox, and its element this year is metal. The ox and author discuss the structure of the molecules of life, left-slanted amino acids or right-slanted DNA and RNA, and the fact that these can mirror but not replace each other. This means that light from their circular spiral structure can be detected as proof of life. The ox explains it is alive, although protected by its metal coat. The engrossing conversation expands into the nature of mRNA vaccines and discusses national propaganda about viral origins.
In the tenth poem, Clare, George and Abdul Ghani Baradar Akhund, Maiden's established characters Clare Collins and George Jeffreys skype with the Deputy Leader of the Taliban, discussing the western occupation, including some of its financial and spiritual characteristics, and also quoting Julian Assange.
Jennifer Maiden has written about Afghanistan for almost two decades and some of her early work about it can be read in the sampler for her Quemar Press Selected Poems 1967-2016. This sampler on our Forthcoming page includes seminal works such as George Jeffreys Introduction ( which begins with 9/11 and expands characters from Maiden's first two Play With Knives novels) and the first two George Jeffreys poems, set in Kabul and Kandahar.
The eleventh poem, Panic, focuses on the recent massacre at Kabul Airport, in which it has been stated that most of the many casualties died because shot by inexperienced American marines who panicked after the suicide bombing. Clare and George discuss this, and in this powerful, atmospheric short poem, relate the situation to Game Theory when the rules no longer apply when it is realised that the game is about to end.
The twelfth poem, George Jeffreys woke up with old grief returned, features Maiden's established characters Clare Collins and George Jeffreys in lockdown in Clare's mother's house in Mt Druitt. They discuss grief and guilt. They decide that lockdown has resulted in a new reflective social perspective as advocated by Tolstoy, despite conservative denial of this. Clare is indignant that because of his age George was forbidden the safer mRNA vaccine . They watch as Clare's mother and their young son Corbyn gather blue roses in the garden.
In the thirteenth poem, Brookings Becomes a Nuclear Sub, Maiden's little mascot Brookings ( a pombat - wombat-possum cross - named after the Brookings Institution), who is an anime enthusiast, asks Maiden for another story about Tritium, the Japanese nuclear ex-mascot, and she creates a story for him about Tritium's adventures riding the nuclear submarine which Australia is now projected to purchase. Brookings enthusiastically plays out his role of being a submarine in the bush.
In the fourteenth poem, Pandora and her Sisters, Maiden examines the Empire's recent possible leak of the Pandora papers and their purpose in the context of previous leaks such as Panama and Paradise, and widens the context to historical and artistic concepts of Pandora, including Hesiod and Louise Brooks. The poem's title comes from its concept of a romcom about sibling witches called Pandora, Panama and Paradise.
In the fifteenth poem, The peace prize, Gore Vidal is imagined to wake again in Belmarsh Prison, where Julian Assange is awaiting the verdict on the U.S. final extradition appeal in October, 2021. Vidal critically considers the recent Nobel Peace Prize in light of the lately confirmed U.S. government plans to kill Assange.
The sixteenth poem, Eleanor Roosevelt Staggered Out of the Bardo, depicts Eleanor Roosevelt leaving a traumatic bardo, or state between life and death, where she had been transfixed by images of Hillary Clinton's destruction of Libya and the murder of Gaddafi. In this poem, Eleanor Roosevelt goes in search of Hillary and decides to attend the recent ceremony in which Hillary was made a Chancellor of a Northern Irish University. This poem is the latest of Maiden's well-known poems about Eleanor and Hillary, inspired by Hillary's comment that she talks to Eleanor when stressed.
The seventeenth poem, George Jeffreys Woke Up Skyping with Joe Biden, imagines Jeffrey's first conversation with President Biden, to whom he has been recommended by Donald Trump as helping to clear the head. Clare participates in the conversation, and the discussion includes American Foreign Policy, the past and present Democratic Party, the state of Biden's health, his new infrastructure legislation, and his fear of the Washington Power Structure eavesdropping on him.
Click on the cover image above left to read the poems.
Another poem from this collection, Clare and Kiribati (published recently in Australian Book Review, April, 2021) can be read online at:
'Clare and Kiribati', a new poem by Jennifer Maiden (australianbookreview.com.au)
There are audio recordings of Pegasus, Fifty Years Gone, It can't be easy, being Tabaqui, and Clare and Kiribati performed by Jennifer Maiden on our News page, as is an audio recording of her performing the Ox in Metal collection's title poem. The text of this title poem was published in the Winter, 2021, edition of the fine journal of creative writing and commentary, Meanjin.
Diary Poem: Uses of Iron Ladies, another poem from this collection, was recently published in the new Feminist anthology, Borderless (Recent Work Press, 2021). The launching can be watched on the anthology's Facebook page. It features talks from the anthology editors and verse from its contributors, including Jennifer Maiden who reads Uses of Iron Ladies:
https://fb.watch/7w7uZ_l1_x/
Whilst the first poem, Murder, He Worried, is not graphic about violence, it refers to the hero Malcolm Turnbull's public doubts about the death of a possible assault victim, and his imagined discussion of this with his relative Angela Lansbury, shown as playing one of her famous roles: a woman detective and mystery writer. We therefore give a trigger warning for this poem.
The second poem It can't be easy, being Tabaqui, begins with a quote from Putin about the jackal in Kipling's Jungle Book, and examines the political context and symbolism of that animal's plight.
The third poem, Doctor Donne and the Country Women examines the current conflict in the Middle East and the NSW Government's policy on mice in terms of an imagined dual metaphor by John Donne and concludes with him delivering a sermon to the Country Women's Association before he leaves to address Mossad.
The fourth poem, There seems an easiness was inspired by the gift of Nadia Wheatley and Meredith Burgmann's very valuable book about 1960s protest, Radicals, and reflects on methods of dealing with deception and danger.
The fifth poem, Tritium the Mascot, is about Tritium, an actual mascot invented by the Japanese Government to promote their release of the radioactive atom Tritium in the Fukushima wastewater now being released into the ocean. Officially deemed too unserious, the Japanese mascot of the Tritium atom has been discontinued, but Maiden in the poem is able to console her own little mascot Brookings ( a pombat - wombat-possum cross - named after the Brookings Institution), who is an anime enthusiast, that Tritium the real atom will continue his adventures in the sea, and that she will tell Brookings stories about him. Maiden's endearing creation Brookings also appears in two of her recent collections, brookings: the noun and The Espionage Act.
The sixth poem, Fifty Years Gone, is a moving and inspiring work in which the late author Gore Vidal is imagined as visiting Julian Assange in Belmarsh prison after Assange's 50th birthday in July, 2021. This, too, is the 50th anniversary period of the publication of Daniel Ellsberg's Pentagon Papers, and in the poem Vidal thinks about Assange and also remembers 50 years ago, including Ellsberg and Norman Mailer. Maiden has already published poems about Vidal and Assange in two of her recent poetry collections, The Espionage Act and Biological Necessity.
The seventh poem, Death-Wish Moths, compares the dangerous life of a real moth, which has been at least temporarily rescued, to the self-chosen perils of intelligence assets who are often predictably betrayed by their employers and causes. Part of the poem's subject is contemporary Haiti.
The eighth poem, Pegasus, is an intense metaphorical lyric about the Pegasus hacking software - spyware - developed in Israel and marketed and licensed to governments around the world. The poem also develops the theme of assets who are betrayed.
The ninth poem, The Metal Ox and Proof of Life, features a dialogue between the author and a wise and enduring ox ( her sign in the Chinese horoscope), because this is the Year of the Ox, and its element this year is metal. The ox and author discuss the structure of the molecules of life, left-slanted amino acids or right-slanted DNA and RNA, and the fact that these can mirror but not replace each other. This means that light from their circular spiral structure can be detected as proof of life. The ox explains it is alive, although protected by its metal coat. The engrossing conversation expands into the nature of mRNA vaccines and discusses national propaganda about viral origins.
In the tenth poem, Clare, George and Abdul Ghani Baradar Akhund, Maiden's established characters Clare Collins and George Jeffreys skype with the Deputy Leader of the Taliban, discussing the western occupation, including some of its financial and spiritual characteristics, and also quoting Julian Assange.
Jennifer Maiden has written about Afghanistan for almost two decades and some of her early work about it can be read in the sampler for her Quemar Press Selected Poems 1967-2016. This sampler on our Forthcoming page includes seminal works such as George Jeffreys Introduction ( which begins with 9/11 and expands characters from Maiden's first two Play With Knives novels) and the first two George Jeffreys poems, set in Kabul and Kandahar.
The eleventh poem, Panic, focuses on the recent massacre at Kabul Airport, in which it has been stated that most of the many casualties died because shot by inexperienced American marines who panicked after the suicide bombing. Clare and George discuss this, and in this powerful, atmospheric short poem, relate the situation to Game Theory when the rules no longer apply when it is realised that the game is about to end.
The twelfth poem, George Jeffreys woke up with old grief returned, features Maiden's established characters Clare Collins and George Jeffreys in lockdown in Clare's mother's house in Mt Druitt. They discuss grief and guilt. They decide that lockdown has resulted in a new reflective social perspective as advocated by Tolstoy, despite conservative denial of this. Clare is indignant that because of his age George was forbidden the safer mRNA vaccine . They watch as Clare's mother and their young son Corbyn gather blue roses in the garden.
In the thirteenth poem, Brookings Becomes a Nuclear Sub, Maiden's little mascot Brookings ( a pombat - wombat-possum cross - named after the Brookings Institution), who is an anime enthusiast, asks Maiden for another story about Tritium, the Japanese nuclear ex-mascot, and she creates a story for him about Tritium's adventures riding the nuclear submarine which Australia is now projected to purchase. Brookings enthusiastically plays out his role of being a submarine in the bush.
In the fourteenth poem, Pandora and her Sisters, Maiden examines the Empire's recent possible leak of the Pandora papers and their purpose in the context of previous leaks such as Panama and Paradise, and widens the context to historical and artistic concepts of Pandora, including Hesiod and Louise Brooks. The poem's title comes from its concept of a romcom about sibling witches called Pandora, Panama and Paradise.
In the fifteenth poem, The peace prize, Gore Vidal is imagined to wake again in Belmarsh Prison, where Julian Assange is awaiting the verdict on the U.S. final extradition appeal in October, 2021. Vidal critically considers the recent Nobel Peace Prize in light of the lately confirmed U.S. government plans to kill Assange.
The sixteenth poem, Eleanor Roosevelt Staggered Out of the Bardo, depicts Eleanor Roosevelt leaving a traumatic bardo, or state between life and death, where she had been transfixed by images of Hillary Clinton's destruction of Libya and the murder of Gaddafi. In this poem, Eleanor Roosevelt goes in search of Hillary and decides to attend the recent ceremony in which Hillary was made a Chancellor of a Northern Irish University. This poem is the latest of Maiden's well-known poems about Eleanor and Hillary, inspired by Hillary's comment that she talks to Eleanor when stressed.
The seventeenth poem, George Jeffreys Woke Up Skyping with Joe Biden, imagines Jeffrey's first conversation with President Biden, to whom he has been recommended by Donald Trump as helping to clear the head. Clare participates in the conversation, and the discussion includes American Foreign Policy, the past and present Democratic Party, the state of Biden's health, his new infrastructure legislation, and his fear of the Washington Power Structure eavesdropping on him.
Click on the cover image above left to read the poems.
Another poem from this collection, Clare and Kiribati (published recently in Australian Book Review, April, 2021) can be read online at:
'Clare and Kiribati', a new poem by Jennifer Maiden (australianbookreview.com.au)
There are audio recordings of Pegasus, Fifty Years Gone, It can't be easy, being Tabaqui, and Clare and Kiribati performed by Jennifer Maiden on our News page, as is an audio recording of her performing the Ox in Metal collection's title poem. The text of this title poem was published in the Winter, 2021, edition of the fine journal of creative writing and commentary, Meanjin.
Diary Poem: Uses of Iron Ladies, another poem from this collection, was recently published in the new Feminist anthology, Borderless (Recent Work Press, 2021). The launching can be watched on the anthology's Facebook page. It features talks from the anthology editors and verse from its contributors, including Jennifer Maiden who reads Uses of Iron Ladies:
https://fb.watch/7w7uZ_l1_x/
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We're happy to announce one of our forthcoming titles: My Existence - from Autobiographical Works by the great nineteenth-century French revolutionary Louise Michel. This work will bring together some her memoirs and her poetry in a new translation, to convey the insight and freshness of her voice. The third preview of the book can be read by clicking on the cover picture above.
Louise Michel's goals were all connected and inter-woven. She was revolutionary in all senses - as a Feminist, Writer, Teacher and Anarchist.
A square in Montmartre is now named after her, and a metro station. As a teacher, She founded schools for the Paris working class, saying In her Mémoires (1886) 'the role of schoolteachers [...] is to give people the intellectual means to rebel'. Her free schools sang the banned La Marseillaise and did not pledge allegiance to Emperor Napoleon III.
When France surrendered to Prussia in 1870, she joined workers opposing the pro-monarchist government. As part of the 61st battallion of Montmartre, she had a major role in the Paris Commune, driving ambulances and rallying workers to take up arms. The writer Victor Hugo called her 'Viro Major'- greater than a man.
In 'Bloody Week' (21 to 28 May) at least 20,000 Communards died on the barricades, or by firing squads. She survived but surrendered for her mother's release. The war council found her guilty of trying to overthrow the government. Exiled to a penal colony in New Caledonia for seven years, she continued activism, supporting the 1878 Kanak rebellion and teaching.
After Communards were offered a general amnesty, she returned to France and began defending her ideal of Anarchism until her death in 1905, when more than 100,000 attended her funeral.
The second preview describes her childhood in an atmospheric old manor in the countryside, surrounded by cats, dogs, deer, hares, horses, cows, birds, boars, bats, wolves and tortoises, where she and her older women relatives take turns reading aloud and sewing. Her descriptions of her childhood are as perceptive, detailed and sensual as Colette's autobiographical writing in the following century.
The third preview describes her growth as a young poet, educator and scientific experimenter as she establishes a workroom for herself in a tower in the old manor, and nurtures many animals, including bats and an owl.
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Louise Michel's goals were all connected and inter-woven. She was revolutionary in all senses - as a Feminist, Writer, Teacher and Anarchist.
A square in Montmartre is now named after her, and a metro station. As a teacher, She founded schools for the Paris working class, saying In her Mémoires (1886) 'the role of schoolteachers [...] is to give people the intellectual means to rebel'. Her free schools sang the banned La Marseillaise and did not pledge allegiance to Emperor Napoleon III.
When France surrendered to Prussia in 1870, she joined workers opposing the pro-monarchist government. As part of the 61st battallion of Montmartre, she had a major role in the Paris Commune, driving ambulances and rallying workers to take up arms. The writer Victor Hugo called her 'Viro Major'- greater than a man.
In 'Bloody Week' (21 to 28 May) at least 20,000 Communards died on the barricades, or by firing squads. She survived but surrendered for her mother's release. The war council found her guilty of trying to overthrow the government. Exiled to a penal colony in New Caledonia for seven years, she continued activism, supporting the 1878 Kanak rebellion and teaching.
After Communards were offered a general amnesty, she returned to France and began defending her ideal of Anarchism until her death in 1905, when more than 100,000 attended her funeral.
The second preview describes her childhood in an atmospheric old manor in the countryside, surrounded by cats, dogs, deer, hares, horses, cows, birds, boars, bats, wolves and tortoises, where she and her older women relatives take turns reading aloud and sewing. Her descriptions of her childhood are as perceptive, detailed and sensual as Colette's autobiographical writing in the following century.
The third preview describes her growth as a young poet, educator and scientific experimenter as she establishes a workroom for herself in a tower in the old manor, and nurtures many animals, including bats and an owl.
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Bisclavret, a re-imagining by Marie de France of werewolf legends, is a new forthcoming title from Quemar Press. This is a work where hierarchy between animals and humans can be demolished, and affection for an individual being (be it in an animal or human state) can be clear and unwavering. You can read the third preview of Quemar’s new Modern English translation of this 12th-century Anglo-Norman classic lai by clicking on the cover above.
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