Derek Walcott: ‘A Far Cry

UNIT 4 DAVID MALOUF: ‘REVOLVING from Africa’, ‘Names’

DAYS’, ‘WILD LEMONS’

Structure
4.0 Objectives
4.1 David Malouf
4.2 Australian Postcolonial literature
4.3 The Text Revolving Days
4.4 Analysis
4.5 The Text Wild Lemons
4.6 Analysis
4.7 Glossary
4.8 Let us sum up
4.9 Check Your Progress: Possible Questions
4.10 Suggested Readings

4.0 OBJECTIVES
After reading this unit, you will be able
a) to provide information about David Malouf’s life and work as a Poet,
dramatist, novelist and short story writer,
b) to analyze the poems prescribed for you. The major themes and concerns of
the poems and understand the age where the poet lived and reflected upon
through his composition.
You can begin by reading and re-reading the poems minutely and go through the
glossary if any further understanding is essential. Do the poems speak about
Australian life or is it a reflection of the postcolonial era? These are some
ponderable facts that need to be addressed.

4.1 DAVID MALOUF THE PERSON

Source: Google 167

Poetry David Malouf graced this planet on the 20th of March, 1934 in South Brisbane to
a Catholic father and a Sephardic Jew Mother. His paternal family has arrived in
Australia in 1880s from Lebanon while his mother’s family came to England via
Holland before finally migrating down to Australia in 1913. And this is the reason
why Malouf always took keen interest in cross-cultural aspects and his writings
truly reflect this spirit. He went to Brisbane Grammar School and after that
graduated in Bachelor of Arts from the University of Queensland. At the age of
24, like many young Australians he travelled to different countries, and stayed
abroad for almost a decade. He taught in England and travelled in Europe. Finally,
in the year 1968 he returned to Australia and worked as a senior tutor and soon
after became Lecturer in English at the University of Sydney. He became a full
time writer from 1977 onwards after taking voluntary retirement from the position
of Lecturer. He used to enjoy the quiet and tranquility of southern Tuscany but
since 1985 lived in Sydney. He has many feathers in his hat in the sense that he
is a poet, novelist, dramatist, short story writer, literary critic orator and the list is
endless1.

His first two published books were both collections of poetry: Bicycle and Other
Poems (1970) and Neighbours in a Thicket: Poems which was published in the
year1974. His first venture to pen down a novel, Johnno published in the year
1975, is the semi-autobiographical tale of a young man growing up in Brisbane
during the Second World War, a period in Malouf’s life that he later wrote about
in his memoir 12 Edmondstone Street published in 1985. His second novel, An
Imaginary Life that was published in 1978, is a fictional life of the poet Ovid,
who was exiled from Rome by the Emperor Augustus in 8 A.D. and sent to live
in exile among the Scythians on the Black Sea. Child’s Play with Eustace & The
Prowler published in 1982 consists of a novel about terrorism and two short
narratives, while Fly Away Peter that was published in the year 1982 displays a
contrastwith the idyllic setting of a bird sanctuary on the Queensland coast with
the horrors of the First World War. Hence his writings reflect a variety of subject
matter. This truly coincides with the background which Malouf belongs and the
outlook he projects in his writings is truly commendable.

His later novels include Harland’s Half Acre published in [Link] is the story
of an artist living in a remote area and his attempt to recover his family’s past
through the land. The novel, The Great World that was published in 1990, won
the Commonwealth Writers Prize (Overall Winner, Best Book) and the Prix
Fémina Etranger (France). This is the story of two Australians imprisoned by the
Japanese during the Second World War is a very touching story line indeed. The
wellknown novel, Remembering Babylon which was published in 1993, was
shortlisted for the Booker Prize for Fiction and won the first International
IMPAC Dublin Literary Award in 1996, as well as the Commonwealth Writers
Prize (South East Asia and South Pacific Region, Best Book). The story is set in
northern Australia during the 1850s which was about a community of Scottish
immigrant farmers whose existence is threatened by the arrival of a stranger. The
novelThe Conversations at Curlow Creek published in 1996, was set in New
South Wales in 1827, is based on the relationship between an illiterate Irish convict
and the police officer sent to hang him. This is another heart rendering plot which
acquired him lot of appreciation.

David Malouf was also a great story teller and also earned a reputation as a lucid
short story writer. His collections of short stories include Antipodes that was
168 published in 1985; Dream Stuff published in 2000; and Every Move You
Make published in 2006. His short stories were collected and published in one David Malouf: ‘Revolving
Days’, ‘Wild Lemons’
volume, The Complete Stories, in 2007. This book was shortlisted for the inaugural
Australian Prime Minister’s Literary Award in [Link] wrote the libretti for Voss,
an adaptation of the novel by Patrick White and first produced in Sydney in
1986, and Baa Baa Black Sheep, an opera with music by Michael Berkeley, and
delivered the Boyer lectures in 1998 for the Australian Broadcasting Commission.
Apart from this he is also the author of a play, Blood Relations that was published
in 1988.

David Malouf was shortlisted for the Man Booker International Prize in 2011.
Since we are discussing more about his poems here, therefore it will be imperative
to have a critical appreciation of his poetic talent and the poems he composed.

Neighbours in a Thicket: Poems, the collection of poems published in 1974,for

the first earned him a reputation as a new Australian talent with tremendous
potential. He won various prizes, including the Australian Literature Society
Gold Medal. The interesting aspect is, this book throws maximum light on
Malouf’s own past. Neighbours in a Thicket: Poems comprises intimate memories
of suburban childhood, of domestic interiors, of mother, sister and the War, of
travel in Europe. One of the most impressive aspects of these early poems is
their subtle shift between affectionate recollection, and the past as something
more haunting and horrific. In later collections of poetry such as First Things
Last that got published in 1980, Malouf returns to these childhood experiences.
Reading his poems is a fascinating experience as he combines poetry with prose,
youthful innocence with wisdom of the matured lot and henceforth the allusions
attached to it.

You will be glad to know that in the recent past some of Malouf’s best poems
have been collected and is made an anthology entitled Revolving Days that was
published in the year 2008. The book opens with the author’s childhood times
spent in Brisbane during the same time of the Second World War, the following
section again shifts to 1960s Europe, section three of the anthology reflects
Malouf’s shifting to Sydney and the final poems, his journeys undertaken between
Europe and Australia. A recurring theme across most of this work is the
relationship between innocence and experience, a theme he has also explored in
an On Experience (2008).Neighbours in a Thicket: Poems was followed
by Johnno (1975), Malouf’s first novel. Johnno covers a landscape that will be
familiar to readers of the earlier work, notably wartime Australia and metropolitan
Europe. Often described as one of his most autobiographical works, the story is
told from the perspective of Dante who has returned to England following the
death of his father. This novel is more concerned with the life of Johnno. Johnno
who is Dante’s friend, who are complete opposites in nature to each other. Johnno’s
was wild in many ways as he was also indulged in such ill activities like
shoplifting, visiting the brothel et al. Dante on the other hand had maintained his
middleclass conservatism in the novel. Like Neighbours in a Thicket: Poems,
and many of his later novels, the book takes a critical look at the emphasis on
possessions and lifestyle in ‘well to do’ [Link] next novel, An Imaginary
Life (1978), represents something of a departure from the everyday worlds of
Malouf’s earlier work. A poetic account of the Roman poet Ovid during his final
years, it develops many of the mythical elements and emblems scattered
through Neighbours in a Thicket: Poems, into a more sustained narrative about
exile and transition and change.
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Poetry Australia has witnessed transition in the late 1960s and early 1970s. There were
large scale social, cultural and political changes in Australia due to the war in
Vietnam and Domino Theory. David Malouf has elaborately written about it in
his fictions. There is a variety of theme in his poems ranging from Australian
landscape, transformative identity, migration besides nature, culture, multiplicity
et al.

4.2 AUSTRALIAN POSTCOLONIAL LITERATURE

Before getting into a detail understanding of postcolonial literature in Australia
it is important to know the Aboriginal Australia. So, in this segment we are going
to throw some light on the same. The Aborigines did not have a written literature
per se but had an oral tradition of myths, songs, chants, stories and legends. The
stories consist of two major ideas – (i) Dreaming – the space where the spiritual,
moral, supernatural and natural relate to each other and (ii) Journeys and travel
across lands forms.

The Aboriginal population is reported to be approx. 60,000 years in Australia

before the Europeans set foot and settled here permanently. They were the original
inhabitants of this Land. The Aboriginal Australian’s primary occupation was
hunting, fishing or gathering. They lived in groups and were nomadic people
moving from one place to another in search of food and water. They used wood,
bone and shells to make tools and weapons. The earliest human migration to
Australia is recorded to be from Africa although it is still not clear as to who the
indigenous people of Australia are. Some are also known to be migrated to
Australia through Southeast Asia.

There was a radical change in the Australian Aboriginal history after the 18th-
and 19th-century when the British came to settle here. Unlike other colonialized
places the British had the intention to settle here. As regards other colonies they
went for trade and commerce. It is a known fact to all that in 1770, one Englishman
Lieutenant James Cook charted the Australian east coast in his ship HM
Barque Endeavour. James Cook discovered the east coast under instruction from
King George III of England on 22 August 1770 at Possession Island, and coined
the name as Eastern Australia ‘New South Wales’. Hence, James Cook is
considered to be the founder of Australia.

The Post-colonialism era describes the persisting cultural legacy within a nation
that has experienced the onslaught of colonialism and imperialism. The post
colonialist critic like Ashcroft, Griffiths and Tiffin suggest that the term is used
generally to define all cultures affected by the imperial process until the present
time (1989, p. 2). Carrying forward this notion, however, many political scientist
and theorists claim that, it more accurately describes a nation that experienced
colonialism, however the people themselves have been officially decolonised
(Bunyan 2013). Meaning thereby, that there is no longer a concept or sense of
the ‘coloniser’ and the ‘colonised’. It’s a complete withdrawal of power by the
colonisers.

The primary focus on Australian postcolonial literature centred round

marginalization, exile, racism, identity, land rights, settler guilt and denial,
resistance, indigeneity, language and so on. The kinds of writings that emerged
in Australia may be pointed out as- Challenging the Eurocentric voice and fighting
170 for one’s own identity, imitation of the European tradition, culture and literature
and forming a new literature out of it and last but not the least synthesis and David Malouf: ‘Revolving
Days’, ‘Wild Lemons’
inclusion as in the case of Malouf and an acceptance of this.

Thus, Australian literature witness’s diaspora and post colonialism and the
resultant issues arise out of it are race, history, identity, culture and so on to the
shift to multiculturalism, resistance to eurocentrism, celebration of the difference
and so on and so forth.

After many deliberation and discussion by experts it has been formulated that
Australian literature can be both postcolonial and non-postcolonial and that
insisting that Australian literature as a whole is solely postcolonial or not is
reducing its status quo and would brand it as essentialist. To be precise, many
works of Australian literature are postcolonial in terms of subject matter and
technique, and Australian society is postcolonial in many ways. However, many
Australian texts do not engage with postcolonial issues at all, and Australian
society can legitimately be viewed as other than postcolonial; for example, many
Indigenous Australians understand Australia as a colonial or neocolonial society.
Essentially a distinction should be made between Australian society and Australian
literature for a wider understanding of the whole gamut of post colonial literature
in terms of [Link] because Australian society is postcolonial, it does not
necessarily make us believe that Australian literature is postcolonial or not. It
would be wrong to declare that Australian literature as a whole is not postcolonial.
It will be reasonably right to claim that most Australian literature is postcolonial
and most Australian literature can be better understood through the application
of postcolonial reading strategies, regardless of whether or not one believes that
Australian society is postcolonial.

As has already mentioned earlier that the Aborigines had oral tradition. There
were no written documents available. The first written literature that was available
to the World was by the white settler communities in the form of reports of the
colony that was supposed to be written back to England. The major themes were
exploration of the “new” continent and the nostalgia of homeland left behind.
Barron Fields’ First Fruits of Australian Poetry is the first collection published
in Australia. The Indigenous people write about resistance, opposition, identity,
culture and so on. Third category of writers like Malouf celebrate the inclusiveness
of cultures and claim it to be a synthesis rather than a curse. He, like Neruda,
celebrates difference, multiculturalism, and the remaking of a new found identity.

In the words of David Malouf, Australia is an “experiment in social engineering”

founded on “an enlightenment belief that if you took people, even criminals, out
of their terrible poverty, and set them down in a place where they could own
their own land and work, then they would, in a kind of way, remade.” Since
Australia developed from penal colonies to urban states, the diaspora results in
formation of new hybrid communities. Malouf celebrates the synthesis and
integration in his works.

4.3 THE TEXT: REVOLVING DAYS

That year I had nowhere to go, I fell in love — a mistake
of course, but it lasted and has lasted.
The old tug at the heart, the grace unasked for, urgencies
that boom under the pocket of a shirt. What I remember
171
Poetry is the colour of the shirts. I’d bought them
as an experiment in ways of seeing myself, hoping to catch
in a window as I passed what I was to be
in my new life as lover: one mint green, one
pink, the third, called Ivy League, tan
with darker stripes, my first button-down collar.

We never write. But sometimes, knotting my tie

at a mirror, one of those selves I had expected
steps into the room. In the next room you
are waiting (we have not yet taken back
the life we promised to pour into each other’s mouths
forever and forever) while I choose between
changes to surprise you.

Revolving days. My heart

in my mouth again, I’m writing this for you, wherever
you are, whoever is staring into your blue eyes. It is me,
I’m still here. No, don’t worry, I won’t appear out of
that old time to discomfort you. And no, at this
distance, I’m not holding my breath for a reply.
The poem ‘Revolving Days’ is about the poet’s firsthand experience when he
was in love with someone special. Years later he tried to reminisce the same
feeling he had for his love interest. He had a feeling that after years of separation
his love interest must be in the next room where he was putting up. However, he
did hesitate to confront her to avoid any kind of discomfort or displeasure. There
is a hint in the poem that David Malouf had strongly vouched for homoeroticism.
At a time when talking about sex, gay rights and similar other things was a taboo
Malouf had expressed in his own subtle way. However, there is no denying the
fact that Malouf had a different sexual preference and when much later in his life
he crosses path with one of his old lovers he was awestruck and feared any kind
of unpleasant encounter.

Here the speaker while pondering about his love interest in the past calls it a
mistake. However, the feelings of his first love remained with him always. He
even recalls the feelings of the past when he purchased the shirts with different
colours. Both the speaker and his beloved didn’t stay in touch with each other.
Whenever he buys a new shirt and puts in the self he feels that it was only yesterday
when he was in the relationship with his first beloved. Time passes and as days
goes by the speaker feels that his feelings have been the same. Nothing could
deter his feelings and the speaker even went ahead in assuming that his beloved
might have moved on gracefully with someone else. He even assures her that he
will never appear before him no matter what so that both do not feel embarrassed.

In this poem the poet makes extensive use of apostrophe and symbols to denote
that it is very difficult and almost impossible to forget the lost love and move
ahead in life.
172
“Revolving Days” is a suitable poem where the title absolutelyfits in as, not only David Malouf: ‘Revolving
Days’, ‘Wild Lemons’
for the strength of its address to a former love, but for its reference of the different
selves in one’s life. An individual undeniably goes through various stages in
one’s life and in the process lives several lives knowingly or unknowingly. Hence,
the attitude and behavioural pattern changes under different circumstances or
situations.

Malouf is of the opinion that poems appear according to the places or events that
“touched off’ the writing and also it emphasizes the various nuances of life pattern.
The book’s four parts, then, reflect four broad stages of the poet’s life, regardless
of when particular poems were penned. “Like our First Paintbox,” in which
Malouf’s child self-thumbs through the “Disney-gaudy” world of color,
subsequently appears early in Part I, dealing with the author’s Brisbane childhood
and youth. That said, the period explored and the time of publication frequently
coincide so that, for example, the poems in Part IV, dealing with the latter decades
of the poet’s life. The most notable aspect of Malouf’s writings is his consistency
in form and approach to subject matter across five decades. Not one to explore
the outer reaches of free verse. Malouf’s great art is in delicate variations on
traditional forms - the couplet, tercet, quatrain. Parts II and IV deal directly with
his years in Europe and specifically with village life in Tuscany, but throughout
we see him informed by a northern hemi- sphere sensibility, drawing from classical
antiquity, the Renaissance, the Bible and, more generally, Christian symbolism,
the latter deployed as historical signpost and metaphor rather than as a belief
system. In “Revolving Days” Malouf’s composition speaks highly about how
connected he was with Europe.

Structure of Revolving Days

Technically speakingthe poem ‘Revolving Days’ byDavid Malouf is devoid of a
proper rhyme scheme. This is a poem which has three stanza and is divided into
uneven sets of lines. The first stanza contains ten lines, the second stanza has
seven lines and the third stanza has six lines. Malouf did not give this poem a
specific rhyme scheme or metrical pattern. Rather, the lines vary in the number
of syllables and the number of words.

Although there is not a structured rhyme scheme there are moments of rhyme
within the poem. These are seen through repetition such as with “lasted” and
“lasted” in line two of the first stanza, as well as through half-rhyme. Also known
as slant or partial rhyme, half-rhyme is seen through the repetition
of assonance or consonance. This means that either a vowel or consonant sound
is reused within one line or multiple lines of verse. For example, “green” and
“League” in lines eight and nine of the first stanza.

Literary Devices in Revolving Days

David Malouf makes use of several poetic techniques in ‘Revolving Days’. The
use of alliteration, anaphora, enjambment, and caesura can be seen abundantly
in the [Link], occurs when a line is split in half, sometimes with
punctuation, sometimes not. The use of punctuation in these moments creates a
very intentional pause in the text.

The use of Alliteration is seen when words are in succession, or at least appear
close together, and begin with the same letter. For example, “life as lover” in line
eight of the first stanza and “writing” and “wherever” in line two of stanza three.
173
Poetry Malouf also makes use of anaphora, or the repetition of a word or phrase at the
beginning of multiple lines, usually in succession. This technique is often used
to create emphasis.

Stanza one
In the first stanza of ‘Revolving Days,’ the speaker looks back on his life and
remembers the year that he “fell in love”. He explains it simply, it happened
because he had nowhere to go. This frivolous start dissolves as he adds that it
“lasted and has lasted”.

In the next lines imagery is used as a way of painting a picture of the past, as
well as evoking in the reader an emotional response to the speaker’s personal
life. He recalls what it felt like to be falling in love. Especially, the “boom under
the pocket of a shirt” urging him on and the “old tug at the heart”.

In an original depiction of a lover’s mind, he describes buying shirts and using

them as a way to understand himself as “lover”. These ranged in colour and one
was his “first button-down collar”.

Stanza Two
As the poem progresses it becomes clear that the love the speaker experienced is
a little more complicated than it seemed. It “lasted” but not in the way one might
immediately expect. He looks to the past, while also considering the future, in
this stanza.

The past comes back to greet him while he’s in the bathroom looking in the
mirror and he recalls the time they spent together and the promises they made.
These have fallen to the wayside as has the relationship.

This is truly reflective of the post colonial aspect where one is trying to come to
terms with the new age after the old regime hands over the power.

Stanza Three

In the final stanza of ‘Revolving Days,’ the speaker makes use of the phrase
“Revolving days” to depict the nature of his heart and memory. He is writing this
for his ex-lover. They are no longer together. In fact, he doesn’t know where they
are. They could be with someone new. Despite the changes that have happened
he’s the same. Before the intended listener/the speaker’s ex-lover starts to worry,
he says he’s not going to pop up form the past “to discomfort” them. They are at
a distance and he knows there is very little chance he’ll be getting a reply to this
letter in poem form.

4.5 THE TEXT WILD LEMONS

Through all those years keeping the present
open to the light of just this moment:
that was the path we found, you might call it
a promise, that starting out among blazed trunks
the track would not lead nowhere, that being set
down here among wild lemons, our bodies were
174 expected at an occasion up ahead
that would not take place without us. One David Malouf: ‘Revolving
Days’, ‘Wild Lemons’
proof was the tough-skinned fruit among
their thorns; someone had been there before us
and planted these, their sunlight to be sliced
for drinks (they had adapted
in their own way and to other ends): another
was the warmth of our island, sitting still
in its bay, at midnight humming
and rising to its own concerns, but back,
heat-struck, lapped by clean ocean waters
at dawn. The present is always
with us, always open. Though to what, out there
in the dark we are making for as seven o’clock
strikes, the gin goes down and starlings
gather, who can tell? Compacts made
of silence, as a flute tempts out a few
reluctant stars to walk over the water. I lie down
in different weather now though the same body,
which is where that rough track led. Our sleep
is continuous with the dark, or that portion of it
that is this day’s night; the body
tags along as promised to see what goes.
What goes is time, and clouds melting into
tomorrow of our breath, a scent of lemons
run wild in another country, but smelling always of themselves.

4.6 ANALYSIS
When he was going to Australia with friends the memory that he had in the track
took them nowhere as there were wild lemons on the way. There was one road
which would take them to the main road. The skin of the lemon is very thick as
it was wild lemons. If there is wild lemons here then there must have been someone
who visited this place earlier and must have planted these lemons plants. The
poet talks at length about nature in this poem. Nature has lot of significance in
this poem. There was an islandin the location where they were stranded. The
water of the island was hot and in the middle of the night they were thinking how
to go out of this place. The waves of the island were heating back and forth and
they could feel the warmth of it. They were able to see the reflection of the
island. The night was drawing close. The fragrance of the wild lemons is still
strong after many years.

The Wild Lemons infact goes on to describe a path on an island, which seemed
to show many indications of previous habitation and other vague but promising
indications that it was worth taking. The poet does not specify what was at the
end of the path, but it has led him to where he is now. In a final image, his dreams
include the scent of the wild lemons on the island even after many years of his
life.
175
Poetry As we can observe that the poem begins with a path on which the poet recalls
treading on along with a friend among “blazed trunks” of trees, marked in such
a way as to promise that the path must lead to some destination which is unknown
to them. The poet and his friend took the path where the wild lemon trees were
grown as they assumed that ahead of the lemon trees some event or some unknown
destination is awaiting them.

The poet even observed that the lemon trees is evident of the fact that someone
had been there before them and planted the trees to provide slices of lemon to
quench the thirst or perhaps just for drinks. In addition to this the island promised
something which is remotely distinct. The warmth of the island gave some positive
vibes too. They were only under assumption as nothing laid bared as to what was
stored for them ahead in their journey. There was no clarity of anything. There
was a possibility deep down within that their life’s turn would be definitely for
something better.

The track has led him to a place with a different climate. However, the person is
same with the same body. When it is dark, he sleeps, saying that his body tags
along with his dreams “to see what goes.” The irony is that the distinctive scent
of lemons persists even after many days.

As we are aware of the fact that Postcolonial Poets used metaphors to explain
even the slightest of situation. David Malouf extensively used metaphorical
language in his compositions. The Poem, “Wild Lemons” is dedicated to the
then Australian premier (which is known as Prime Minister now) Don Dunstan.
This poem actually celebrates the grit and resilience of Dunstan. He thought for
the welfare of the people especially of South Australia. The poem has an extensive
use of Australian landscape, the climatic condition and the metaphor of wild
lemons to explain the transition from one moment to another. He was a social
reformer in the true sense of the term as he was very vocal and also action oriented
when it comes to the Education sector, Health and Hygiene, Gender Equality,
Homosexuality and most importantly Aboriginal rights. His tenure was so famous
that its known as Dunstan Decade in Australian Political History.

4.7 GLOSSARY
Ivy League: A group of long-established universities in the eastern US having
high academic and social prestige. It includes Harvard, Yale, Columbia
Homoeroticism: is a sexual attraction between members of the same sex
Metaphor: A figure of speech which a word or phrase is applied to an object or
action to which it is not literally applicable
Aboriginal: Inhabiting or existing in a land from the earliest times or from before
the arrival of colonists

4.8 LET US SUM UP

From the above discussion am sure you are quite familiar with David Malouf
and his life and times he lived. You also must have got a clear understanding of
Australia and post colonial constructs. His two poems “The Revolving Days”
and “Wild Lemons” are delved deep in this unit.
176
 David Malouf: ‘Revolving
4.9 CHECK YOUR PROGRESS: POSSIBLE Days’, ‘Wild Lemons’

QUESTIONS
1. What is the major concern of David’s Malouf’s writings?
2. What is your idea about Aborigines of Australia?
3. Write a brief over view of post colonial Australia.
4. What is the gist of the poem The Revolving Days?
5. What does the poet actually mean by referring to lemons in the poem “Wild
Lemons”?

4.10 SUGGESTED READINGS

Sati, Someshwar. A warble of postcolonial voices An Anthology of short stories
and poems [Link]. New Delhi: World view publications, 2018 pp302, 303
[Link]
Chakraborty, Madhumita. Post Colonial Literatures: Voices from the other. New
Delhi: Book Age Publications,2015. Pp.21.4
David Malouf: A Celebration. National Library of Australia,2001
[Link]
Natalie Seger, “Imagining Transcendence: The Poetry of David Malouf,”
Australian Literary Studies, 2005.
Reviewed Work(s): Revolving Days by David Malouf, Review by: Anthony Lynch
Stable URL: [Link]
[Link] =’Revolving%
20Days’%20by%20David%20Malouf%20is%20a%20three%2Dstanza,%
2C%20and%20the%20third% 3A%20six.&text=These%20are%20seen%20
through %20repetition, well%20as%20through%20half%2Drhyme.

177
Poetry

178