John Mateer, over a long career, has been a poet of distance and locale, working with a continental sense of poetics, traversing land and sea in an inquiry into the nature of an historically-framed instant.
'How then to deal with this vast collection of poems? Synecdoche may be the best approach. I’ve long asserted both privately and in print, and not always light-heartedly, that it is only by the poet’s best fourteen poems that he or she is remembered. Of course, the number is arbitrary; it could be thirteen, fifteen or twenty but certainly not forty. A few poets have had to be posthumously content with one or two. Over time, however, due mainly to the work of successive anthologists and a few scholars, the poems that may once have filled six collections, or thirty, are filtered back to the fourteen or so that will reappear in anthologies every few years for the next century or two. This is not just laziness among compilers. There are good reasons why these fourteen should be re-run. Which then are Murray’s fourteen? I'
Whittaker uses English as both an object of ridicule and a tool of empowerment. In subverting the conventional rules of usage, she makes it her own. In her hand, English does and says and tells a different story. Audre Lorde said that the master’s tools will never dismantle the master’s house. And they won’t. But Blak writers like Whittaker use these tools to carve out their own spaces to build other story – to re-story Country with the old stories, and to create new ones.