“An art work has to be approached—there are the footsteps”: Judith Rodriguez launched ‘Footsteps’ by Greg Rochlin at Collected Works Bookshop

Judith Rodriguez launches Footsteps by Greg Rochlin (Littlefox Press, 2016), 2.00pm, 22 October 2016 at Collected Works Bookshop

Footsteps A5 cover art etch linesHow long have I known Greg Rochlin? I don’t know. There are friendships where you’ve known someone for years but never felt you’ve known them. And there are those you’ve met, in class, on a committee, at a dinner, and they become part of your friendship circle; your life is changed that bit by them, they expand your world. Greg is one of those.

I can’t actually remember the CAE group he was in. But at Yak and then at the Moat meetings of poets, he’s an irregular regular, whose poems always create interest and sometimes discussion.

Should I add that Greg takes part in the Melbourne productions of plays in French? An extra language is an extra string to your bow; it opens up another literature in the medium in which it is best met—its own language. And it gets you thinking constructively about language, because other languages behave differently from English.

Greg is the only student poet I’ve known who has proposed a new and difficult poem form, the villanellette. It is, if you like, a parody of the villanelle that shows both its problems and its finesse. A trial and critique that both entertains and exercises the poet.

Now we have Footsteps—what a modest title, by a poet who understands that one is always going somewhere, making a fresh start, directing the words to be different from say, just conversation or a business mission statement. An art work has to be approached—there are the footsteps.

– Judith Rodriguez


Judith Rodriguez is a Melbourne poet. Her recent books are Manatee (2007) and The Hanging of Minnie Thwaites (2012). She wrote the libretto for Moya Henderson’s opera Lindy which was performed at the Sydney Opera House in 2002. She taught at La Trobe University (1969–1985) and Deakin University (1998–2003). Judith is a recipient of the Christopher Brennan Award.

 

This entry was posted in Footsteps, Issue 24, Poetry launches and tagged , , , by Zalehah Turner. Bookmark the permalink.

About Zalehah Turner

Zalehah Turner is a Sydney based poet, photographer, cultural journalist, and Associate Editor of Rochford Street Review (RSR). Zalehah regularly contributes articles and interviews on poetry, art, film, and new media for RSR and the UTS magazine, Vertigo. Zalehah’s poetry was projected onto the Federation Square Wall in Melbourne as part of the Overload Poetry Festivals, 2008 and 2009; exhibited at Mark and Remark ,107 Projects, Redfern in 2013; and displayed in Alice Springs and Moruya thanks to Australian Poetry Café poets, Laurie May and Janette Dadd respectively. Her poems have been published in Writing Laboratory (2013), Sotto (2013), Social Alternatives (2016), Vertigo (2016, 2017), UTS’s The Empathy Poems Project (2017) and Rochford Street Review (2017). She co-judged the New Shoots Poetry Prizes 2016 alongside, Tamryn Bennett, Artistic Director of The Red Room Company, and published the winning and highly commended poems. Zalehah is currently working on an intermedia poetry collection entitled, 'Critical condition', focused on the interstitial threshold between life and death in medical crises based on personal experience. Zalehah holds a BA in Communication with a major in writing and cultural studies from the University of Technology, Sydney where she continues to pursue pushing the boundaries of multimedia poetry in Honours (Communication- Creative Writing).

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  1. Pingback: ISSUE 24. Double Issue October 2017 – March 2018 | Rochford Street Review

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