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Conscious and Verbal: Poems
A wonderful new collection by a wizard of contemporary poetry
Everything widens with distance, in this perspective.
The dog's paws, trotting, rotate his end of infinity
and dam water feels a shiver few willow drapes share.
Bright leaks through their wigwam re-purple the skinny beans
then rapidly the light tops treetops and is shortened
into a day. Everywhere stands pat beside its shadow
for the great bald radiance never seen in dreams.
-from "Aurora Prone"
In July 1996, the Australian press reported that after three weeks in a coma, the country's greatest poet, Les Murray, was again "conscious and verbal." Shortly thereafter, Murray resumed his work in words, and over the next four years he wrote these sixty-five poems, which, in their different ways, literally or sensually, replay that dreamy announcement of the perpetually waking world. Conscious and Verbal is one of the legendary poet's richest, fullest, and most imaginative books to date.
Everything widens with distance, in this perspective.
The dog's paws, trotting, rotate his end of infinity
and dam water feels a shiver few willow drapes share.
Bright leaks through their wigwam re-purple the skinny beans
then rapidly the light tops treetops and is shortened
into a day. Everywhere stands pat beside its shadow
for the great bald radiance never seen in dreams.
-from "Aurora Prone"
In July 1996, the Australian press reported that after three weeks in a coma, the country's greatest poet, Les Murray, was again "conscious and verbal." Shortly thereafter, Murray resumed his work in words, and over the next four years he wrote these sixty-five poems, which, in their different ways, literally or sensually, replay that dreamy announcement of the perpetually waking world. Conscious and Verbal is one of the legendary poet's richest, fullest, and most imaginative books to date.
- GenresPoetry
128 pages, Hardcover
First published January 1, 1999
About the author
Les Murray
79 books63 followersLeslie Allan Murray (born 1938) was the outstanding poet of his generation and one of his country's most influential literary critics. A nationalist and republican, he saw his writing as helping to define, in cultural and spiritual terms, what it means to be Australian.
Leslie Allan Murray was born in 1938 in Nabiac, a village on the north coast of New South Wales, Australia, and spent his childhood and youth on his father's dairy farm nearby. The area is sparsely populated, hilly, and forested, and the beauty of this rural landscape forms a backdrop to many of Murray's best poems, such as 'Spring Hail':
"Fresh-minted hills
smoked, and the heavens swirled and blew away.
The paddocks were endless again, and all around
leaves lay beneath their trees, and cakes of moss."
His parents were poor and their weatherboard house almost bare of comforts; Murray remarked that it was not until he went to the university that he first met the middle class. His identification was with the underprivileged, especially the rural poor, and it was this that gave him his strong sense of unity with Aborigines and with 'common folk'. The title he chose for his Selected Poems, The Vernacular Republic, indicates both this sense of unity and his Wordsworthian belief that through the use of 'language really spoken by men' poets can speak to and for the people.
Many of the Scottish settlers on the New South Wales coast had been forced out of Scotland by the Highland clearances of the l9th century, and they in turn were among those who dispossessed the Aboriginal Kattang tribe around the Manning valley; in later years Murray's own father was forced off the land by family chicanery. The theme of usurpation, whether of land or of culture, as well as the influence of Murray's Celtic background, often make themselves felt in his work, as one sees in poems such as 'A Walk with O'Connor,' in which the two Australian Celts try in vain to understand Gaelic on a tombstone, the grave becoming symbolic of the death of Celtic culture:
"...reading the Gaelic, constrained and shamefaced, we tried to guess what it meant
then, drifting away, translated Italian off opulent tombstones nearby in our discontent."
In 1957 Murray went to the University of Sydney to study modern languages. While there he worked on the editorial boards of student publications. At Sydney he was converted from the Free Kirk Presbyterianism of his parents to Roman Catholicism, and the influence of passionately held Christian convictions can be seen everywhere in his verse, though seldom overtly; instead it shows itself, in poems such as 'Blood' or 'The Broad Bean Sermon,' in a strong sense of the power of ritual in everyday life and of the sacramental quality of existence. 'AImost everything they say is ritual,' he remarked of rural Australians in one of his best-known poems, 'The Mitchells.'
He left Sydney University in 1960 without a degree, and in 1963, on the strength of his studies in modern languages, became a translator of foreign scholarly material at the Australian National University in Canberra. His first volume of poems, The llex Tree (written with Geoffrey Lehmann), won the Grace Leven Prize for poetry on its publication in 1965, and in the same year Murray made his first trip out of Australia, to attend the British Commonwealth Arts Festival Poetry Conference in Cardiff. His appetite whetted by this visit, he gave up his translator's post in 1967 and spent over a year traveling in Britain and Europe. Travel had the effect of confirming him in his Australian nationalism; he was a republican who believed that Australia should throw off the shackles of political and cultural dependence, and he saw his work as helping to achieve that end.
On his return to Australia he resumed his studies, graduating from Sydney University in 1969. After that he earned his living as a full-time poet and writer. He was one of Australia's most influential literary critics.
Leslie Allan Murray was born in 1938 in Nabiac, a village on the north coast of New South Wales, Australia, and spent his childhood and youth on his father's dairy farm nearby. The area is sparsely populated, hilly, and forested, and the beauty of this rural landscape forms a backdrop to many of Murray's best poems, such as 'Spring Hail':
"Fresh-minted hills
smoked, and the heavens swirled and blew away.
The paddocks were endless again, and all around
leaves lay beneath their trees, and cakes of moss."
His parents were poor and their weatherboard house almost bare of comforts; Murray remarked that it was not until he went to the university that he first met the middle class. His identification was with the underprivileged, especially the rural poor, and it was this that gave him his strong sense of unity with Aborigines and with 'common folk'. The title he chose for his Selected Poems, The Vernacular Republic, indicates both this sense of unity and his Wordsworthian belief that through the use of 'language really spoken by men' poets can speak to and for the people.
Many of the Scottish settlers on the New South Wales coast had been forced out of Scotland by the Highland clearances of the l9th century, and they in turn were among those who dispossessed the Aboriginal Kattang tribe around the Manning valley; in later years Murray's own father was forced off the land by family chicanery. The theme of usurpation, whether of land or of culture, as well as the influence of Murray's Celtic background, often make themselves felt in his work, as one sees in poems such as 'A Walk with O'Connor,' in which the two Australian Celts try in vain to understand Gaelic on a tombstone, the grave becoming symbolic of the death of Celtic culture:
"...reading the Gaelic, constrained and shamefaced, we tried to guess what it meant
then, drifting away, translated Italian off opulent tombstones nearby in our discontent."
In 1957 Murray went to the University of Sydney to study modern languages. While there he worked on the editorial boards of student publications. At Sydney he was converted from the Free Kirk Presbyterianism of his parents to Roman Catholicism, and the influence of passionately held Christian convictions can be seen everywhere in his verse, though seldom overtly; instead it shows itself, in poems such as 'Blood' or 'The Broad Bean Sermon,' in a strong sense of the power of ritual in everyday life and of the sacramental quality of existence. 'AImost everything they say is ritual,' he remarked of rural Australians in one of his best-known poems, 'The Mitchells.'
He left Sydney University in 1960 without a degree, and in 1963, on the strength of his studies in modern languages, became a translator of foreign scholarly material at the Australian National University in Canberra. His first volume of poems, The llex Tree (written with Geoffrey Lehmann), won the Grace Leven Prize for poetry on its publication in 1965, and in the same year Murray made his first trip out of Australia, to attend the British Commonwealth Arts Festival Poetry Conference in Cardiff. His appetite whetted by this visit, he gave up his translator's post in 1967 and spent over a year traveling in Britain and Europe. Travel had the effect of confirming him in his Australian nationalism; he was a republican who believed that Australia should throw off the shackles of political and cultural dependence, and he saw his work as helping to achieve that end.
On his return to Australia he resumed his studies, graduating from Sydney University in 1969. After that he earned his living as a full-time poet and writer. He was one of Australia's most influential literary critics.
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Displaying 1 - 6 of 6 reviews
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August 17, 2023without any research Les seems to have been a lovely boy . THis is not the place to start with him, I suspect, but it's what oxfam had to give me. The poems are not in my brain yet, which is my funny way of saying this could be a case of It's Not My Thing. only the issue with that excuse is that you can ALWAYS make it your thing, and I intend to. I'm not here to narrow the horizon
the constructions are CONstructed, there's always a system just behind the poem. In other words , you could loosely collect the modernists into POETS who are letting the words do something and lead them ; POETS who are trying to say a thing with the words about the words ; POETS who speak talismanically, channelling a wider or earthy sense , writing that is neither off-the-cuff nor intrusively designed - plath is good here ; POETS who say I've an idea for a poem about x and then they go and write it. I think les and probably somebody like larkin fits that, (again I say, without any reason or knowledge to back me up ) , so I'm going to be out here , trying again
in other news his poem, not in this collection, THE COWS ON KILLING DAY is incredible & one of the best animal poems ever written and a big recommendation for anyone
the constructions are CONstructed, there's always a system just behind the poem. In other words , you could loosely collect the modernists into POETS who are letting the words do something and lead them ; POETS who are trying to say a thing with the words about the words ; POETS who speak talismanically, channelling a wider or earthy sense , writing that is neither off-the-cuff nor intrusively designed - plath is good here ; POETS who say I've an idea for a poem about x and then they go and write it. I think les and probably somebody like larkin fits that, (again I say, without any reason or knowledge to back me up ) , so I'm going to be out here , trying again
in other news his poem, not in this collection, THE COWS ON KILLING DAY is incredible & one of the best animal poems ever written and a big recommendation for anyone
March 28, 2021
Murray was a master of the English language. You have to work to read his poems but the reward is worth it.
March 30, 2024
Mostly brilliant.
February 20, 2016
Thrillingly dense with nouns. "The Harleys" is worth the price of admission by itself (being one blasting bad-ass sentence that grinds down the page and then is gone). Murray makes stuff up, he probably looks stuff up, he plays games, he winks, he writes what sometimes feels like a journal of his Australian world. I love his love of language.
October 24, 2015
Les can write. There is poetry in his heart and a love of the bush and it's people> He's a nostalgic writer too. His forays into the politics of race and culture are clumbsy and his mysticism can be just mystifying. But there is stuff to love here, humour and a talent for language.
October 16, 2017
Occasionally very inspired construction, but often more oblique than my tastes
Displaying 1 - 6 of 6 reviews