Spatial Relations Volume Two: Essays, Reviews, Commentaries, and Chorography Spatial Relations Volume Two: Essays, Reviews, Commentaries, and Chorography

AcknowledgementsJohn Kinsella wishes to thank the University of Western Australia, where he is a Professorial Research Fellow.A warm debt of gratitude is owed to Dennis Haskell and the Westerly Centre.Special thanks go to John Kerrigan, Philip Mead, and my editor, Gordon Collier.And as always, special thanks to Tracy Ryan, to whom I [and Gordon; Ed.] dedicate these volumes.John Kinsella wishes to acknowledge that his references to Indigenous literature, knowledges, and place are subjective, and that readers wishing to inform themselves better of the issues discussed should consult the increasingly wide and always rich body of knowledge and information published by Indigenous authors. Further, for specific information relating to specific places, Indigenous people, especially elders, should be consulted, and dialogue entered into. I have done this where possible, and with enthusiasm, belief, and commitment. Further, I wish to acknowledge and pay my respects to the traditional custodians of the land I write, and signal my gratitude for my living on and moving through traditional lands.My appreciation to Rosanna Warren for allowing her co-authored piece to feature here.Special thanks to Chris Hamilton-Emery at Salt Publishing and to Clive Newman, Ray Coffey, and Georgia Richter at Fremantle Arts Centre Press.Introduction to The Jaguar's Dream © John Kinsella, 2012. Originally published in The Jaguar's Dream: Translations, Adaptations, Versions, Extrapolations, Interpolations, Afters, Takes and Departures (Richmond: Heria Publishing, 2012). Reproduced by kind permission of Alma Books Ltd.Preface to Purgatorio, Preface to Paradiso, Preface to Inferno from Divine Comedy: Journeys through a Regional Geography; Three New Works by John Kinsella. Copyright © 2008 by John Kinsella. Used by permission of W.W. Norton and Company, Inc.Introduction- Opinion -Whenever I read the word 'vegan', I idly imagined a humanoid creature out of Close Encounters of the Third Kind (is there a star called Vega?) in syncretistic combination with some New Age adherent feasting on veggies. It therefore came as a pleasant surprise, when John Kinsella visited my university during a stay in Europe (long ago now), to find a healthy, normal- and good-looking man with hair of a patrician, premature grey, engaging energetically with my students, proactively clarifying his statements but making no concessions to relative German ignorance about Western Australia or aspects of the breadth and depth of the intellectual world he touched on. There were a few quietly tense moments at my favourite Chinese restaurant, but luckily there was a microscopic range of relatively vegetarian dishes on the menu, and John made his - veganized: i.e. rigorously modified - selection with grace.John's choices of what to write on, and his ductus in doing so, are likewise blessed with grace - grace of articulation and of engagement. His fascination, for example, with the nexus between the writer's life and the life (craft) of the writer is revealed in the intensity of his conversation with the Canadian poet Patrick Lane, where his interview questions are acutely tuned to Lane's similar readiness to explore the textures of his life-history. Apropos conversation, it may appear curious to draw attention to the words of others when it's John's writing that is on display in these two volumes, but the dialogues with Tracy Ryan and Rosanna Warren (poet-artist and scholar, and daughter of Robert Penn Warren) are absorbing for the intense, rich reflection and argument generated by his interlocutors - thoughts that possess their own character and precision, yet are there because John's own commitment to his craft is being conveyed with disarming, infectious openness.He is sensitively observant about the ?bio-ethology' of Australian poetry - tiie socio-cultural mechanisms that produce allegiances and groupings and, conversely, resistant ? …

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