Tabla de Contenidos:
  • Introduction: Localities
  • How does the activist cope with ambiguity?
  • Resisting the compliant text
  • The truth should be in blurbs, encomiums, references, letters of support and launch speeches etc.
  • An Unambiguous Response to Helen MacDonald's Article The Forbidden Wonder of Birds' Nests and Eggs'
  • How do poems come out of conversations?
  • On being an ethical vegan for thirty-three or so years...
  • No pets but surrounded by animals- proximity sensors and warnings
  • Dream pastoral inversions: re-approaching pastoral fraughtness through questions of Australian rurality
  • Celebrating Fay Zwicky
  • A dissenting imagination: disambiguations
  • Places we do or don't go to not only in person, but also in writing
  • `Precise poems' are more ambiguous than we might think: on Judith Wright's Collected Poems
  • On Georgina Arnott's The Unknown Judith Wright
  • On Alison Whittaker's poetry collection Blakwork: a letter to an editor
  • Non-ambiguous: dispossession and culpability
  • on Ambelin Kwaymullina's Living on Stolen Land
  • On Glen Phillips's Collected Poems 1968-2018: In the Hollow of the Land
  • A poet's personal appreciation of Les Murray (in memoriam, April, 2019)
  • IM Bruce Dawe, 2020
  • Sinews
  • on Siobhan Hodge's Justice for Romeo
  • On Matt Hall's poetry collection, False Fruits: habitation and the `Consonant Feather'
  • On Kim Seung-Hee's Hope Is Lonely
  • On Philip Neilsen's MS Wildlife of Berlin
  • On Omar Sakr's The Lost Arabs
  • On Paul Kelly's 2017 album/CD Life is Fine
  • The polyphony of voices brought together
  • The inherent reciprocities of memoir-making: on the memoirs of Evelyn Shaldr and George Ellenbogen
  • On an innovative poet's book, never published: introduction to Scott Patrick-Mitchell's Vade Mecum
  • Working with Urs Jaeggi
  • On Textures of Ambiguity
  • On my own, my language is not alone
  • Rocks can burn, too: and there's nothing ambiguous about it
  • Poetry can lead to speculative `realist' fiction: the inspiration behind Hollow Earth
  • On Spenser's stanza `Virtue gives itself light'
  • Consuming rebellions and the need for non-violent protest
  • Extinction Rebellion is too much about image and not enough about its own impacts
  • TOWARDS `CONCLUSIONS': Disembodying and re-embodying the poem as act of acknowledgement of land rights and a rejection of `property': on acts and actioning of environmentally concerned poetry ; Resist! Against cruelty- emphasis without violence ; Conclusion to Beyond Ambiguity and a triptych of poetics.