![]() In dust, the forces that make deserts also shape weather systems that splay far beyond the edges of Chinese territory. A fifty-fold increase in major dust events across China since the founding of New China in 1949, associated with land degradation, multiple bouts of land reform, and disparate regimes of economic and ecological construction, and increasingly, climate change, has revealed dust as a substance that at once signals rapid land degradation and meteorological emergence. Or, more, they are a recurrent convergence of geology and meteorology into a continual disjunctive process of earthly transformation and change. ![]() It is an airborne continent that obscures the one earthbound below, visible only at the fraying edges of the storm and through the intermittent skylights that fade open and closed nearer its eye.ĭust storms, a signal geo-atmospheric feature of China’s meteorological contemporary, are land turned weather. ![]() In the air, a dust storm is a landmass passing through phases, from desert to aerosol event. A decade of rapid desertification, in a sustained rage of wind, phased the exposed, grass-bare geology of the just-thawed dunescape into a weather event that would, over days and then weeks, pass over Beijing, the Koreas, and Japan, and eventually the southeastern United States. He lives in the wheatbelt with his family on Ballardong Noongar Boodja.In April of 2001, years of drought, an unusually warm winter, and early spring Siberian jet winds coalesced in a massive dust storm over China’s interior. He is a Fellow of Churchill College, Cambridge University, and Emeritus Professor at Curtin University. His new memoir is Displaced: a rural life (Transit Lounge, 2020). His volumes of criticism include Activist Poetics: Anarchy in the Avon Valley (Liverpool University Press, 2010) and Polysituatedness (Manchester University Press, 2017). ![]() His recent novels include Lucida Intervalla (Dalkey Archive, 2019) and Hollow Earth (Transit Lounge, 2019). His volumes of stories include In the Shade of the Shady Tree (Ohio University Press, 2012), Crow’s Breath (Transit Lounge, 2015) and Pushing Back (Transit Lounge, 2021). University of Western Australian Press will be publishing his Collected Poems 1980-2021 in three volumes, with the first volume being released in early 2022. John Kinsella’s most recent volumes of poetry include Drowning in Wheat: Selected Poems 1980-2015 (Picador, 2016), Open Door (UWAP, 2018), Insomnia (WW Norton, 2020) and Supervivid Depastoralism (Vagabond, 2021). The attempt is to create an illuminated book influenced by William Blake, wherein the poem and drawing are inseparable as forms of written text. Resisting the colonising ‘qualities’ of Western art, they investigate the possibilities of working against representative ‘dimensionality’, and consider the one dimensional, two dimensional and ‘undimensional’ aspects of representation. Deeply concerned with the well-being of the natural environment as well as human rights and justice issues, these pieces work as interventions, discussions, and exchanges between the real world and imagined ones. Fascinated by kaleidoscopes as a child, the poems and poem-drawings swirl, fragment, rearrange and circulate around each other, bringing events onto the page. The book also juxtaposes an earlier unpublished sequence of Graphology poems written some years ago that served as the incipient ‘form’ for the kaleidoscopic drawing-poems series in this book. This book represents work from a recent series of ‘drawing-poems’ composed in a continuous sweep often interlinked with journal-writing. Concerned with issues of orthography, handwriting, typing, modes of discussing and conveying experience, and with issues of perception and modes of writing, there has also been concurrently, mainly in journal-form, an accruing catalogue of visual commentary, illustration, scribbles, sketches, colour codings, and drawing-poems. John Kinsella has been working on his series of Graphology Poems for almost thirty years, and published the first of these in the mid-1990s. The Australian Collection of Outsider Art.What is speaking? Why do we speak? - NFT.Number directions and the versions - live. ![]() The Everywhere Anywhere: Number directions and the versions. ![]()
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