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We write – we have always written – as a species who have over centuries aimed to elevate ourselves over nature. We write about our planet now with a renewed consciousness. However, the eye and the hand that is capturing it also has a hand in destroying it. Each one of us – some in very small and some in large ways, some knowing and unknowing, some thinking and unthinking – are contributing to it.

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Besides Jena’s, there is work by Judith Wright, 90-year-old Raymond Curtis, and Wangerriburra elder Aunty Ruby Sims. Historical signboards record the efforts of ‘rainforest women’, local naturalists and botanists who have been, for 150 years, guardians of the environment, many authors themselves. And before that, the long-term custodians, Aunty Ruby’s people.

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This is a book with a significant vision. It brings renowned thinkers into a communal space, like a galvanising symposium or an inspiring protest. Each thinker, by activating their various practices through art, poetry, speeches and essays, moves us towards a just and ecologically sustainable, peaceful existence.

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The poems in this collection fell into natural pairs; the long list became a short list a clear tone came through, a sinfonia emerging with a crescendo half-way through in Draft Lottery, 1969, easing back down through the ekphrastic poems (poems responding to artwork) and ending in the slow movement of the title poem: a poetry collection to be read in one sitting — a beginning, middle, an end.

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It his hard not to respect someone who has had the courage to devote themselves full-time to writing in Australia given the hand to mouth existence that this kind of life often ensures. And judging by much of Henderson’s poetry, his life has not been an easy one. Indeed, it appears to have been a constant search for a light at the end of the tunnel.

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I once had the privilege of hearing Miriam Wei Wei Lo read her poetry at the State Library of Western Australia and also on the ABC’s Poetica. That seemed so long ago. In fact it was 2004 when her first edition of Against Certain Capture was published by Five Islands Press, in the New Poets 10. The good news is that her book has resurfaced, it’s an identical second edition published by an imprint called the Apothecary Archive.

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My review of this dazzling book has been delayed by my father’s recent death. But the greatest tribute I can give to Anne Casey is to say that reviewing her work has been one of my greatest consolations in the past several weeks. I find myself rereading the poems in this collection several times a day, like a devout person telling their prayer beads.

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 It’s a delight to be able to join in the celebrations of Kevin Higgins’s stylish, urgent, and hell-raising new pamphlet tonight: in my experience, there’s nothing quite like it in the world of Irish poetry and literary criticism. If I were to distill down to a single element what I love, and what I believe is so necessary and unique, about Kevin’s work, it’s the wild and delicious ease (to be found in abundance in this pamphlet) in skewering the pieties of both the political and literary establishments:

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Richard James Allen is a widely published and prize winning author, as well as being a multi-talented artist excelling in many art-forms, he describes himself as a poet, dancer, film director, actor, novelist and choreographer. His latest novel More Lies contains 33 chapters, each chapter no longer than one and a half pages, it is a small book but what it contains is a treasure of laughs and lies.

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