Axon: Creative Explorations

This article discusses the space that is created when poetry meets the archives, a unique space wherein a poet can use the historical materials found in archives together with her imagination to reconstruct women’s lives and narratives that hitherto have been marginalised or ignored by more traditional historical texts and outlets. The article considers the impulse that occurs when creativity, language, and history meet, and uses the lens of some of Susan Stanford Friedman’s ideas on feminism and history found in her book Mappings. Often, this kind of imaginative rendering takes space, and the use of the women’s long poem in providing a form for this work is also considered. The ideas and work of other poets, such as Jordie Albiston, Susan Howe and Helen Rickerby, further inform the discussion, and two manuscripts by Kimberly K. Williams are analysed and discussed.

This paper references the writing of the Australia Council funded verse novel The Sorry Tale of the Mignonette and the additional print folio created as a practical example of using formal and informal archives and the extent that places, people, and material form enabling networks for the production of new work. Because I trained as a visual artist rather than as a writer, I find it very difficult to confine myself to working solely in one medium. Archival material is not merely stored as a static and revered object but is capable of becoming mobilised and motivated by use, and to affect the practice of the artist/writer through ideas, travel and social contacts. The archive grows through the networks it assumes with the past and new material created from it, showing the circularity of creative production around archival material and its sites.

Female poets seeking to have their work published in Australian literary journals in the second half of the twentieth century faced a predominantly male culture: most positions as poetry editor for major journals were held by male poets. This study of the rate of publication of female poets from 1945 to 1990 in those journals also investigates the rate of submission by female poets. Using archival material not previously researched for this purpose, it is shown that the rate of publication of female poets is well below their rate of submission for most of that period. The misogynistic attitudes of some male editors are also evident.