F for Fake: Poetry and Plagiarism


Nicole (Audrey Hepburn) and her forger father Charles Bonnet (Hugh Griffith) in the 1966 movie How to Steal a Million. It is unlikely that the current Australian Poetry plagiarism ‘scandal’ will have a happy ending.

A few weeks back I rewatched the 1966 movie How to Steal a Million.  I first saw this movie when I was a kid, probably soon after it was released. In it Audrey Hepburn plays the daughter of an art forger (Hugh Griffith) who makes his money producing copies of old masters and selling them to underground art dealers. But when a forgery of a small sculpture is put on display by a Paris art gallery his daughter realises that the insurance company will probably discover the forgery when it is assessed. She decides to ‘steal’ the art work back before it can be discovered and teams up with the Peter O’Toole character (who is an ‘art detective’ who is hot on the heels of her father) to steal it back. Of course the two fall in love and eventually everyone lives happily ever after.

Unfortunately life rarely emulates art (even if it sometimes does copy itself) and it has been said that poetry only makes the news when there is a death or a scandal. Well Seamus Heaney died and grabbed a few column centimetres –  and then along came a small to middling sized poetry scandal which ensured that poetry and the arts in general were caught fully in the headlights as the new conservative government started sharpening their knives. Only this time there was no Audrey Hepburn or Peter O’Toole to relieve the tension, add a touch of glamour and to provide a few laughs.

First off the rank was Newcastle based poet Andrew Slattery. Slattery has won or been commended in a number of awards over the past few years, among them 2nd prize International Awards in the Bridport Prize 2011,  Shortlisted for The Newcastle Poetry Prize 2010, and the Winner of The Arts Queensland Val Vallis Award for Unpublished Poetry. He also reeceived Literature Board Grants — Grants for Emerging Writers in 2008 and 2010. His downfall was, in fact, another award  the Josephine Ulrick Poetry Prize which he won earlier this year for his long poem Ransom. According to media reports one of the judges, Anthony Lawrence, became suspicious and, with the help of another judge (M T C Cronin) started googling lines from Slattery’s poem. They discovered that about four-fifths of the lines appeared to be the work of other poets.

Further investigations suggested that this was not an isolated incident and so in June when Slattery won the Cardiff International Poetry Prize his winning poem was closely analysed. It also turned out to contain many lines borrowed from other poets including the singer songwriter Tom Waits. Slattery was again stripped of his award.

Slattery’s original defence appears that he was simply using cut up, sampling or Cento (works composed of pieces taken from other works and reformatted), however it does appear that he has accepted that he made a major mistake by not acknowledging the source of his borrowings and has accepted that his actions have hurt other poets. My understanding is that he has also withdrawn from writing poetry.

Within days of the storm breaking over Slattery another poet was named as a serial plagiarist. Graham Nunn, a respected Brisbane poet and past organiser of the Brisbane Poetry Festival was originally ‘caught’ when it was revealed that his poem, ‘Fortune’ from his 2010 book Open Hearted, appeared to mirror and contain direct quotes from Canadian Don Mckay’s poem ‘Philosopher’s Stone’. While Nunn, at the time described this as “extremely careless” and apologised, he seemed to try and adopt the Audrey Hepburn/Peter O’Toole defence when confronted with further evidence.  English poet and ‘plagiarist sleuth’ Ira Lightman apparently tweeted Graham Nunn some questions about a number of other poems he was suspicious about – it appears that Nunn then started pulling down a large number of poems from his blog Another Lost Shark (http://anotherlostshark.com/ – Note it apppears Nunn has now completely deleted his blog and this link is not active.) and pulled his books from sale. Unfortunately for him many of them had already beedn archived online.

For most poets I know the initial reaction was one of shock. Nunn was a well-regarded figure in the Queensland Poetry community, he published a number of books (both by himself and other poets) and many spoke of the role he had played as a mentor to them. But as the evidence emerged it became more and more difficult to give him the benefit of the doubt. (for those wanting to make up their own mind a record of Ira Lightman’s Twitter posts relating to Nunn can be found at http://storify.com/iralightman/graham-nunn-poems-and-their-often-close-resemblanc). Adding to this was the fact that Nunn had removed much of his work from easy public scrutiny.

Nunn has posted a response on his blog:

In response to a number of statements made online and in the media about my poetry, I’d like to tell you about my creative process. I was not given the opportunity to respond to some of the claims before they were made, so I am doing so here, and I am doing so now.

Reading and listening to music are a vital part of my process. And there are times when I’m reading a poem or listening to a song that a door opens and my mind flashes with images from my personal history. It may be a phrase, a line, a metaphor that triggers this, but when it occurs, I give myself over to the images and ensure I capture them. In doing this, the framework of the poem is used to tell my own story and parts of the original text are creatively appropriated in the formation of a new work.

Have I credited the original work the way academia would have? No. Does poetry and music have a long history of sampling, of re-purposing, of homage? Yes. Will I continue to seek inspiration and motivation and keys to my memories and experience from outside of my own head? Yes. It’s impossible to do otherwise. But let me be clear, my motivation has always been to charm the moment that has found me into a poem and only that, not to steal and never to cause harm.

For many in the poetry community this still leaves many questions unanswered. I, for one would like to see Nunn refer to specific examples and explain how his process resulted in what appears to be in some cases very close resemblances between his poem and the work of other poets. Rochford Street Review has also emailed Graham to ask why he has removed so much of his work from his blog. We have yet to receive an answer.

While always wanting to maintain the presumption of innocence it is difficult in this situation when Nunn has effectively gone to ground. Among with others in the Australian poetry community we are concerned that there maybe others poets in similar positions who have yet to be identified.

The bottom line is that sampling, Cento, paste-ups etc are all valid art forms, but they are only valid if the original source is acknowledged. It would appear, that at the very least, a number of poets seem to have been very loose with their definition of the form – at worst they have just been copying.

UPDATE 23 September 2013

Brisbane based poet Vuong Pham posted an admission on his blog last thursday that he had “offended people by not acknowledging properly in my creative writing”. (http://versesoftheinnerself.blogspot.co.uk/2013/09/acknowledgements-and-apologies.html  – Note. It appears that Vuong has made his blog Private and access is by “invitation only”). Once again Pham uses the poetic influence argument

“Throughout my poetry studies, I have come across ways in which to approach writing a poem, some of them, were writing styles like Cento, Found Poetry, choosing certain words from a chosen poem to form one’s own (the name of which, of the style it’s called escapes me)”.

There have been some suggestions that Pham may have been mentored by Nunn (he has been published by him), if this is the case one has to start to question exactly what Pham has been taught.

Pham singles out “She Speaks”by Sam Byfield which had been published in Meanjin in 2010. Pham apologises for not acknowledging this poem as the “original source” for his poem ‘She Speaks’, which was commended in the 2012 Ipswich Poetry Festival. Pham is a devoted Christian and seeks forgiveness from both Byfield and Christ.

Since this acknowledgement appeared a number of other allegations have been made. Following a tip off from Ira Lightman English poet Ian McMillan accused Pham from steeling from his poem ‘Ten Things Found in a Shipwrecked Sailor’s Pocket’. (Pham’s poem is also called Ten Things Found In A Shipwrecked Sailors Pocket). Lightman has also called into question ‘Contemplation’ which, he claims appears to have borrowed heavily from ‘Words, Wide Night’ by Carol Anne Duffy. I suspect the investigation is continuing.

– Mark Roberts

F for Fake was the last major film completed by Orson Welles (released 1974).

Some media links

Poet uses defence of ‘collage poetry’ after recycling Plath lines Stephen Romei From: The Australian September 13, 2013 http://www.theaustralian.com.au/arts/books/poet-uses-defence-of-collage-poetry-after-recycling-plath-lines/story-e6frg8nf-1226718041674

‘Plagiarism the word that can’t be uttered’ Susan Wyndham SMH 13/9/2013 http://www.smh.com.au/entertainment/books/plagiarism-the-word-that-cant-be-uttered-20130913-2tpha.html

Newcastle poet under siege over ‘patchwork’ poetry 14/9/2013 http://www.abc.net.au/news/2013-09-14/newcastle-poet-under-siege-over-27patchwork27-poetry/4957998

‘“Of borrow’d plumes I take the sin”’: plagiarism and poetry’ By Justin Clemens  Overland 16/9/2013  http://overland.org.au/2013/09/of-borrowd-plumes-i-take-the-sin/comment-page-1/

Mr Poetry” Graham Nunn is facing fresh allegations of plagiarism Daryl Passmore The Courier-Mail September 17, 2013 http://www.dailytelegraph.com.au/news/national/mr-poetry82178217-graham-nunn-is-facing-fresh-allegations-of-plagiarism/story-fnii5v71-1226720499267

Brisbane poet Graham Nunn denies accusations of plagiarism Robb Kidd   The Courier-Mail  16/9/2013  http://www.news.com.au/national-news/queensland/brisbane-poet-graham-nunn-denies-accusations-of-plagiarism/story-fnii5v6w-1226719604925

Award-winning young poet caught plagiarising By Kathy Marks The New Zealand Herald 19 September 2013 http://www.nzherald.co.nz/lifestyle/news/article.cfm?c_id=6&objectid=11126726

Plagiarism scandal has revealed an ugly side of Australian poetry Toby Finch The Guardian Monday 23 September 2013 http://www.theguardian.com/commentisfree/2013/sep/23/australian-poetry-plagiarism?CMP=twt_fbo

Michelle Cahill on ‘The Prize Addiction’ http://michellecahill.com/2013/09/19/the-prize-addiction/

Graham Nunn’s reponse to allegations of plagiarism  http://anotherlostshark.com/

Vuong Pham – Acknowledgements and Apologies http://versesoftheinnerself.blogspot.co.uk/2013/09/acknowledgements-and-apologies.html

Spineless Wonder announces the The joanne burns Award

joanne burns - Photo by Juno Gemes

joanne burns – Photo by Juno Gemes

It is pleasing to note that  short/micro/nano/flash fiction publisher Spineless Wonder has named a new award in honour of renowned experimental poet/writer joanne burns. Spineless Wonder has described the award int the following terms:

The precise form that The joanne burns Award will take each year may change. For the past two years, for instance, the Spineless Wonders prose poem/microfiction competition has called for submissions with a maximum of 800 word limit. In future years, The joanne burns Award may be for other brief forms, such as nanofiction or for blended, genre-bending prose poem or poetic prose forms yet to be developed.

The theme of each year’s joanne burns Award will also vary. Some years the theme may be open whilst in others, such as in the 2012 Australian icons competition, the theme will be specified.

As in previous years, the competition will be blind judged according to the criteria set out in the Terms and Conditions. The joanne burns Award judge for each year, along with the competition parameters, will be announced in the first half of each year.

The joanne burns Award will carry a monetary reward as well as an offer of publication for those pieces judged to be the highest quality entries in our annual competitive cull.

The 2013 award is will be judged by Shady Cosgrove and opens on 1 June. It is un-themed, which I think means that you don’t have to worry about incorporating a particular topic in your writing, and the word length is limited to 800 words. Micro fiction and prose poems submissions are invited.

More information about the award can be found here: http://shortaustralianstories.com.au/the-joanne-burns-award/ and submission guidelines at http://shortaustralianstories.com.au/submissions/prose-poetrymicrofiction/.

It is fitting that Spineless Wonder have chosen to name this award after joanne burns. As I wrote in a review of burn’s last collection, amphora, “Burns has been writing and publishing for almost four decades, her first collection Snatch being published in 1972. Over the years she has established a reputation for pushing poetic boundaries and for blurring the distinction between poetry and prose with her published work consisting of a combination of poetry, prose poems and prose sequences”. Her work has been, perhaps, the most consistently experimental  poetry/prose produced in Australia over the last 3 to 4 decades and she shows no sign of compromise now. I hope that those submitting work to this award are inspired by burns’ work and are prepared to push and crash through the barriers that guide so much creative writing in Australia today.

– Mark Roberts


Mark Roberts is a Sydney based writer and critic. He currently edits Rochford Street Review. He is currently working a collection of poetry.

The review of amphora can be found at https://rochfordstreetreview.com/2013/03/19/pushing-boundaries-mark-roberts-reviews-amphora-by-joanne-burns/

Spineless Wonder can be found at http://shortaustralianstories.com.au/

A selection of joanne burns’ work can be found at http://www.poetrylibrary.edu.au/poets/burns-joanne