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"Poesie", Rockefeller Center, New York City.
Photo: John Tranter.

Sydney, 2007
photo John Tranter

Letters to the Editor: If you would like to send a letter to the editor, click here: [»»]. Please be brief and courteous.

Visit our current issue:
Jacket 36: Late 2008

You can also see the next issue being built: Jacket 37

Interviews

[»»] A Document of Listening: H L Hix in conversation with Philip Metres, November 2007-May 2008

[»»] Clayton Eshleman in conversation with Paul Hoover and Maxine Chernoff: «Sulfur» and «New American Writing»: A Dialogue

[»»] Clayton Eshleman in conversation with Ian Irvine (late 2007-early 2008)

Barry Gifford

[»»] ‘The Truth is in the Work’: Barry Gifford in conversation with Noel King, Berkeley, California, 2007

[»»] Dennis Phillips in conversation with Sheila Murphy, 2008 (see below)

[»»] Hope: an excerpt from Dennis Phillips’ novel Hope.

Feature:
New Russian Poetry

Editor:
Peter Golub

Co-editor:
Tatyana Golub

[»»] Peter Golub: A New Beginning: The Young Post-Soviet Poets

[»»] Peter Golub: Справочник: Who is Helping the New Russian Poetry?

[»»] Interview: Mikhail Aizenberg in conversation with Peter Golub

[»»] Oleg Dark: On Anastasia Afanasieva Tr. Marian Schwartz

[»»] Anastasia Afanasieva: Tr. Peter Golub

[»»] Olga Livshin:
          Nina Iskrenko (1951–1995):
          Lyricism at the End of an Era

[»»] Nina Iskrenko: Tr. Vitaly Chernetsky

[»»] Nina Iskrenko: Tr. Olga Livshin

[»»] Maxim Amelin: Tr. Christine A. Dunbar

[»»] Aleksandr Anashevich: Tr. Vitaly Chernetsky

[»»] Polina Andrukovich: Tr. Christine A. Dunbar

[»»] Nikolai Baitov: Tr J. Kates

[»»] Polina Barskova: Tr. Peter Golub

[»»] Sveta Bodrunova: Tr. Matvei Yankelevich

[»»] Dmitry Bushuev: Tr. Rebecca Gould and Peter Golub

[»»] Danila Davydov: Tr. Peter Golub

[»»] Alexei Denisov: Tr. Peter Golub

[»»] Nastya Denisova: Tr. Peter Golub

[»»] Elena Fanailova: Tr. Stephanie Sandler and Genya Turovskaya

[»»] Sergey Gandlevsky: Tr. Philip Metres

[»»] Dina Gatina: Tr. Peter Golub

[»»] Marianna Geide: Tr. Peter Golub

[»»] Pavel Goldin: Tr. Peter Golub

[»»] Dmitry Golynko: Tr. Eugene Ostashevsky

[»»] Lenor Goralik: Tr. Peter Golub

[»»] Anna Gorenko: T. J. Kates and Sibelan Forrester

[»»] Mikhail Gronas: Tr. Christopher Mattison with the author

[»»] Julia Idlis: Tr. Peter Golub

[»»] Viktor Ivaniv: Tr. Peter Golub

[»»] Vadim Kalinin: Tr. Peter Golub

[»»] Gennady Kanevsky: Tr. Matvei Yankelevich

[»»] Natalya Kluchareva: Tr. Peter Golub

[»»] Mikhail Kotov: Tr. Peter Golub

[»»] Ilya Kriger: Tr. Peter Golub

[»»] Sergei Kruglov: Tr. Vitaly Chernetsky

[»»] Sergei Kruglov: Tr. J. Kates

[»»] Ilya Kukulin: Tr. Matvei Yankelevich

[»»] Inga Kuznetsova: Tr. Chris Mattison

[»»] Zhenya Lavut: Tr. Matvei Yankelevich

[»»] Dmitry Lazutkin: Tr. Vitaly Chernetsky

[»»] Valery Ledenev: Tr. Peter Golub

[»»] Olga Livshin: Original work

[»»] Anna Logvinova: Tr. Christopher Mattison

[»»] Gila Loran: Tr. Peter Golub

[»»] Stanislav Lvovsky: Tr. Peter Golub

[»»] Mara Malanova: Tr. Stephanie Sandler

[»»] Ksenya Marennikova: Tr. Peter Golub

[»»] Kiril Medvedev: Tr. Peter Golub

[»»] Tatyana Moseeva: Tr. Peter Golub

[»»] Valery Nugatov: Tr. Peter Golub

[»»] Oleg Pashchenko: Tr. Peter Golub and Sibelan Forrester

[»»] Alexandra Petrova: Tr. Stephanie Sandler

[»»] Andrei Polyakov: Tr. Peter Golub

[»»] Peter Popov: Tr. Peter Golub

[»»] Dmitri Prigov: Tr. Chris Mattison and Philip Metres

[»»] Evgenii Proshchin (Egor Kirsanov): Tr. Sibelan Forrester

[»»] Eugenia Ritz: Tr. Peter Golub

[»»] Andrei Rodionov: Tr. Matvei Yankelevich

[»»] Arseny Rovinsky: Tr. Peter Golub

[»»] Lev Rubinstein: Tr. Philip Metres

[»»] Anna Russ: Tr. Matvei Yankelevich

[»»] Boris Ryzhii: Tr. Tom Dolack

[»»] Sveta Sdvig: Tr. Peter Golub

[»»] Andrei Sen-Senkov: Tr. Matvei Yankelevich

[»»] Irina Shostakovskaya: Tr. Zachary Schomburg

[»»] Gleb Shulpyakov: Tr. Chris Mattison

[»»] Aleksandr Skidan: Tr. Genya Turovskaya and Natasha Randall

[»»] Maria Stepanova: Tr. Tatyana Golub and Rebecca Gould

[»»] Daria Sukhovei: Tr. Peter Golub

[»»] Fyodor Svarovsky: Tr. Peter Golub

[»»] Dmitry Tonkonogov: Tr. Peter Golub

[»»] Dmitry Vodennikov: Tr. Matvei Yankelevich, Peter Golub, and Tatyana Golub

[»»] Olga Zonberg: Tr. Peter Golub

[»»] Nikolai Zvyagintsev: Tr. Peter Golub and Matvei Yankelevich

[»»] List of Translators

Feature

Maged Zaher

[»»] Three Egyptian Poets: edited by Maged Zaher:  — Osama El-Dinasouri —
Mohamed Metwalli — Ahmed Taha

Feature: Barbara Guest

Barbara Guest, Sermoneta, Italy, 1968

[»»] Matthew Cooperman: Envy and Architecture: On Barbara Guest’s Realisms

[»»] Rachel Blau DuPlessis: ‘The other window is the lark’: on Barbara Guest

[»»] Ken Edwards: Pageant of creativity

[»»] Catherine Kasper: Barbara Guest’s Career: Defensive Rapture

[»»] Erica Kaufman: On “The Location of Things”

[»»] Will Montgomery: Sound Leads to Structure: Dissonant lyricism in Barbara Guest’s «Miniatures»

[»»] Elizabeth Robinson: Direction

[»»] Marjorie Welish: Spaced Intertext

[»»] Caroline Williamson: Working methods: painting, poetry and the difficulty of Barbara Guest

Also see the Barbara Guest
Feature in [»»] Jacket 10

This feature supplements Chicago Review’s Northern Summer 2008
[»»] feature on Barbara Guest.

Articles

[»»] Thomas Basboll: Decision and Desire: A ‘Rain-sparkling Crystogram’ in Nabokov’s «The Defence»

[»»] Art Beck: And Yet Another Archaic Torso — Why?

Archaic torso

[»»] Rachel Blau DuPlessis: The Hole: Death, Sexual Difference, and Gender Contradictions in Creeley’s Poetry

[»»] Rachel Blau DuPlessis and William Watkin: “Draft 33: Deixis”/Notes on “Deixis”: a Midrashic Chain: an exchange of thoughts

[»»] Susan Briante: Coultas and Robertson Write the City from Surface to Detritus, from I to We

[»»] Emily Carr: Happily, Revision: Reading Rosmarie Waldrop’s «The Reproduction of Profiles»

[»»] Ian Davidson: Frank O’Hara’s Places

[»»] Seth Forrest: The Body of the Text: Cerebral Palsy, Projective Verse and Prosthetics in Larry Eigner’s Poetry

[»»] Andy Frazee: “Present-Absent”: The Dependence on/Transcendence of “Shakespeare” in Stephen Ratcliffe’s «[where late the sweet] BIRDS SANG» and Jen Bervin’s «NETS»

[»»] Paul Hoover: Black Painting Divided by a White Painting: Newlipo: Bringing Proceduralism and Chance-Poetics into the 21st Century.

[»»] Jane Joritz-Nakagawa: Essay: Mistaken Indemnities

[»»] Kent Johnson: Notes on Notes on Translation: ‘Translation must seek to bring over the strangeness, obvious or latent, of the original, and always guard against the temptation to familiarize it. It is this, after all, that is the gain of translation — the new surplus, semantic or grammatical, that languages can invest in the general economies of others.’

[»»] Basil King: Learning to Draw/A History: 14 Eyes — Desire: on Paul Blackburn

[»»] Graham Lyons: Citation as Explanation: Walter Benjamin and Louis Zukofsky, Colporteurs

[»»] Deborah Meadows: Lecture Notes on Icons and Iconoclasts

[»»] John Muckle: Hazlitt’s Paroxysms

[»»] David B. Olsen: People are Stranger: Listening to Graham Foust

[»»] Richard Owens: Gael Turnbull: The Bricklayer Reconsidered: Editing Gael Turnbull’s Collected Poems

[»»] Andrew Schelling: In Which Our Current Post Coyote Poetry Gets Tracked to the 1970s

[»»] Jeffrey Side: Empirical and Non-Empirical Identifiers

[»»] Jordan Stempleman: Still, Life Supports a Tending

[»»] J. Townsend: Spiritual Man, Modern Man: The Poetics of Frank Samperi

[»»] William Watkin: “Though we keep company with cats and dogs”: Onomatopoeia, Glossolalia and Happiness in the work of Lyn Hejinian and Giorgio Agamben

[»»] Donald Wellman: Seventies prosody: “the tone leading vowels”

Denise Levertov
Editor: Kevin Gallagher

Denise Levertov, 1923–1997: Photo by Jonathan Williams, 1957

[»»] Kevin Gallagher: Templum: Introduction to Denise Levertov Feature

[»»] Anne-Marie Cusac: Reading Levertov in Wartime

[»»] Anne Dewey: Gender Difference and the Construction of Social Space in Levertov’s Writing after the Duncan-Levertov Debate

[»»] John Felstiner: “that witnessing presence”: Life Illumined Around Denise Levertov

[»»] Sam Hamill: In Her Company: Denise Levertov

[»»] Donna Krolik Hollenberg: A Poet’s Revolution: The Life of Denise Levertov: An excerpt from Donna Krolik Hollenberg’s biography: from Part Two: Chapter Seven

[»»] Rachelle K. Lerner: Ecstasy of Attention: Denise Levertov and Kenneth Rexroth

[»»] Dick Lourie: Two poems

[»»] Mark Pawlak: Draft: From «Glover Circle Notebooks»

[»»] José Rodríguez Herrera: In Homage to Levertov: Translating Sands of the Well

[»»] Ron Silliman: Unerasing Early Levertov

[»»] Tino Villanueva: Poet in the World: A Tribute to Denise Levertov

[»»] Also see: Denise Levertov (poem): Eros, in Jacket 16

[»»] Also see: Robert J. Bertholf: From Robert Duncan’s Notebooks: On Denise Levertov, in Jacket 28

[»»] Also see: Robert J. Bertholf: The Robert Duncan / Denise Levertov Correspondence: Duncan’s View, in Jacket 28

Feature: George Oppen
Editor: Thomas Devaney

Mary Oppen, George Oppen, Swathmore, 1979. Photo Robert S. DuPlessis

[»»] Rachel Blau DuPlessis: Oppen from seventy-five to a hundred, 1983–2008

[»»] Pat Clifford: George Oppen, Buddhadev Bose and Translation

[»»] Stephen Cope: As if Objectivist: Oppen’s Political Epistemophelia

[»»] George Evans: Pacific

[»»] Al Filreis: Believing in the World Because It Is Impossible

[»»] Zack Finch: “I am / of that people the grass / blades touch”: Walt Whitman and the Aesthetics of Curiosity in George Oppen’s Critique of Violence

[»»] Kathleen Fraser: This in which I remember George Oppen

[»»] Bobbie Louise Hawkins: George Oppen, Mary Oppen and a Poem

[»»] Michael Heller: from «Oppen’s Thematics: [what are poets for?]» (a talk given at the Kelly Writers House celebration of George Oppen, April 7, 2008)

[»»] Eric Hoffman: Of Hours: George Oppen, Albert Camus and the Illuminated World

[»»] Geoffrey O’Brien: In Memory of Oppen

[»»] Bob Perelman: Oppen’s Poetics and Politics Today

[»»] Patrick Pritchett: Writing the Disasters: Late Modernism and the Persistence of the Messianic in George Oppen and Michael Palmer

Feature

[»»] Clayton Eshleman:
      Tavern of the Scarlet Bagpipe:
      On Bosch’s «Garden of Earthly Delights»

Reviews

Robert Adamson, 2/56 Terry Street, Rozelle, 5 July 1985
photo by John Tranter

[»»] Robert Adamson: «The Golden Bird: New and selected poems», reviewed by Joseph Donahue

[»»] Unexplained evidence: George Albon: «Momentary Songs», reviewed by Michael Cross

[»»] Textures of otherness: Charles Alexander: «Certain Slants», reviewed by Jonathan Stalling

[»»] Questions of Travel: Ana Bozicevic-Bowling: «Document», reviewed by Matthew Thorburn

[»»] A Gathering of Words: Michael Brennan: «Unanimous Night», reviewed by David McCooey

[»»] Julie Carr: «Equivocal», reviewed by Andy Frazee

[»»] Reflections on a Paper Mirror: Joel Chace: «Cleaning The Mirror», reviewed by John Olson

[»»] Jack Collom and Lyn Hejinian: «Situations, Sings» (collaborative poems), reviewed by Robert Grenier

[»»] Haunting: Brenda Coultas: «The Marvelous Bones of Time: Excavations and Explanations», reviewed by Jesse Morse

[»»] Our Best Failed Distinctions: Thomas Devaney: «A Series of Small Boxes», reviewed by John Emil Vincent

[»»] Stuart Dybek: «Streets in Their Own Ink», reviewed by Virginia Konchan

[»»] Geoffrey Gatza: «Not So Fast Robespierre», reviewed by Jared Schickling

[»»] «The Salt Companion to Lee Harwood » edited by Robert Sheppard (Salt, 2007) reviewed by Patrick James Dunagan

[»»] The voice of instinct: Christine Hume: «Lullaby», reviewed by Chris Glomski

[»»] Brenda Iijima: «Animate, Inanimate Aims», reviewed by Thomas Fink

[»»] Patrick Jones and Peter O’Mara: «How To Do Words With Things», reviewed by Astrid Lorange

[»»] Daniil Kharms: «Today I Wrote Nothing: The Selected Writings of Daniil Kharms» Edited and translated by Matvei Yankelevich; reviewed by Larissa Shmailo

[»»] Strange meetings: Kent Johnson: «I Once Met», reviewed by Cralan.

[»»] Hank Lazer: Lyric & Spirit: Selected Essays 1996–2008, reviewed by Sue Walker

[»»] Greg McLaren: «The Kurri-Kurri Book of the Dead» reviewed by Nick Riemer

[»»] Escape from New York: Ange Mlinko: «Starred Wire» and «The Children’s Museum», reviewed by Dan Thomas-Glass

[»»] ‘Love boats of rainbow alien barf’: Sharon Mesmer: «Annoying Diabetic Bitch» reviewed by Stan Apps

[»»] George Messo: Entrances, reviewed by Alistair Noon

[»»] Three books, reviewed by Micaela Morrissette: «The Glimmer Palace» by Beatrice Colin; «Tranquility», by Attila Bartis, translated by Imre Goldstein; and «Train to Trieste» by Domnica Radulescu

[»»] Jennifer Moxley: «The Line», Reviewed by Matt Gagnon

[»»] Bern Mulvey: «The Fat Sheep Everybody Wants», reviewed by Virginia Konchan

[»»] «Intersection, Sidewalks and Public Space». ed. Marci Nelligan & Nicole Mauro, reviewed by josé felipe alvergue

[»»] Gavin Selerie: «Roxy» and «Le Fanu’s Ghost», reviewed by Robert Hampson

[»»] “To educate desire,” “to repurpose kitsch”: Robert Sheppard: «Complete Twentieth Century Blues», reviewed by Todd Nathan Thorpe

[»»] My colonic is my confession: Eleni Stecopoulos: «Autoimmunity», reviewed by Thom Donovan

[»»] The tragic and the wacky: Gary Sullivan: «PPL in a Depot» reviewed by Stan Apps

Orangerie, Versailles

[»»] “As if you could open a jar of sugar forever”: Cole Swensen: «Ours», reviewed by Donna Stonecipher

[»»] Flight from ‘The Ten Thousand Things’: Nathaniel Tarn: «Recollections of Being», reviewed by Martin Anderson

[»»] Carol Watts: «When blue light falls», reviewed by Robert Grenier

[»»] «The Collected Poems of Philip Whalen», reviewed by Laurie Duggan

[»»] The Lyricism of Sluts and Drunks: Meg Withers: «A Communion of Saints» reviewed by L.J. Moore

[»»] ‘Each evening he would write/ what had happened to him’ : Formality and occasionality in the poems of Mark Young : «Pelican Dreaming: Poems 1959–2008» Poems by Mark Young, reviewed by Nicholas Manning.

Poems

[»»] Robert Adamson: Poem: At Rock River

[»»] Adam Aitken: Three poems: Pol Pot in Paris / Letter to Marguerite Duras / Lines from «The Lover»

[»»] Iain Britton: Two poems: The Ornamental Room / Still Fall the Clear Steel Nibs of Night

[»»] Janet Charman: Three poems: singer machine / debate / the forgetting option

[»»] Maxine Chernoff: Three poems: Oracular / And words for / What it contains

[»»] Tom Clark: Two poems: O Friend! / Fireside Chat

[»»] Chris Edwards: So Not Orpheus: Rilke Renditions 1–11

[»»] Phillip A Ellis: Emily Dickinson’s Birds

[»»] Stephen Emmerson: Two poems

[»»] Michael Farrell: Two poems: structures p / bad diction

[»»] Annie Finch: Three poems:
She That / Resolution / Night Rain

[»»] Norman Fischer: Felstentor

[»»] Barry Gifford: Three poems and a play: Monk’s Funeral / The Generalissimo Waves / Hey, Ludwig, Grab Yourself a Pigfoot / The Farm Team (A story in the form of a play)

[»»] Noah Eli Gordon: Diminishing Returns

[»»] Andrej Khadanovich: Three Poems. Translated by David Kennedy with the assistance of Valzhyna Mort

[»»] Michele Leggott: Four poems: ascensore / passaggiata / primavera / redentore

[»»] Rachel Loden: Two poems from «Dick of the Dead»: Cheney Agonistes / Autumn Daze

[»»] Nicolás Mansito III: Four poems from «On Third and Seventh»

[»»] Andrew Mossin: Nocturne

[»»] John Muckle: Two poems: I Should Be So Lucky / On Ebury Bridge Road

[»»] Sheila E Murphy and Douglas Barbour: Continuations LVIII

[»»] Stephen Vincent: Ocean Beach

Shameless self-promotion: John Tranter has a homepage of his own at http://johntranter.com/. Below, some of his recent books. Most of them can be bought à la plastique via the Internet.

2006 — Urban Myths: 210 poems: New and Selected University of Queensland Press, 2006. 322 pages. ISBN-0-7022-3557-1, paperback. You can buy the book via UQP’s Internet site.

Publisher’s cover blurb: Urban Myths: 210 Poems brings the best work to date from a poet considered one of the most original of his generation in Australia, together with a generous selection of new work. Smart, wry and very stylish, John Tranter’s poems investigate the vagaries of perception and the ability of language to converge life, imagination and art so that we arrive, unexpectedly, at the deepest human mysteries.

“Tranter has produced a body of work remarkable for its intellectual vitality, formal versatility, and powers of renewal over a long and formidable career.”  — Peter Pierce, The Melbourne Age, July 15, 2006. Peter Pierce is professor of Australian literature at James Cook University.

“This new and selected poems reminds us, if we needed reminding, just how powerful John Tranter’s cumulated work is. There is a density, an intensity, and a many-sided explorativeness that probably cannot be matched in Australian poetry. Surprisingly, at 210 poems, it is a comparatively small book and has been pretty ruthlessly selected, but there is no doubting the size of its author’s achievement.”  — Martin Duwell, Australian Book Review August 2006, page 41

The third edition of the book The Floor of Heaven, a collection of four loosely-linked narrative poems.

‘A rattling good read’  — JOHN ASHBERY

‘The Floor of Heaven is a tour de force, a devious and profoundly subversive conjuring trick by a poet writing at the peak of his powers… the book pulses with a curious resonance… reminded me irresistibly of the best moments in Twin Peaks… a strange lyricism.’
 — ANDREW RIEMER, Sydney Morning Herald

‘...It is a sentimentality which has always lurked beneath the surface of Tranter’s work, a crudity of feeling that gives many of his early poems the glazed, dated air of 70s airport lounges.’ Alison Croggon ABC Radio National «Books and Writing», 8 November 1992.

You can read all of The Floor of Heaven on John Tranter’s homepage, and you can buy a printed copy from the publisher’s website:
http://www.uqp.uq.edu.au/book_details.php?id=0975698001
or from the University of Queensland Bookshop mail order department: phone (617+) 3346 9434, fax (617+) 3365 1988 and email at
benc[ât]uqp.uq.edu.au
The book can also be purchased on the bookshop internet site.

At The Florida
University of Queensland Press, 1993, first and only edition, 99 pages, paperback, ISBN 0 7022 2553 3
AUD $15, USD $15, £10 — air mail postage paid

From discursive free verse to intricate rhyme, from the classic Sapphic stanza to the ‘haibun’, a 17th-century Japanese hybrid form, John Tranter exploits the full range of his technique.

Late Night Radio — Polygon Press, Edinburgh, 1998. 92 pages, ISBN 0 7486 6238 3

‘John Tranter’s amphetamine-fuelled, demented jeremiads... this work is... a form of pornography.’ — Caitriona O’Reilly, P.N.Review

‘... a startlingly accomplished pragmatist, a poet alert to what works... Tranter gives us... new, unpredictable ways to describe the world — by turns energetic, exuberant, exasperated; hip, antipathetic, pathetic; attentive, fantastic, fed-up, ridiculous, serious; in his own words “quizzical”, “grateful”, “daft, adolescent and deeply wise”...’ — Stephen Burt, TLS

[ In Ultra ]Tranter has conjured with great verve a babel of voices — plangent, angry, sentimental, melancholy, at times despairing — which carry the reader into vivid evocations of a feverish kind of urban life, despite the poems’ hermetically sealed refusal to yield conventional sense.  — Andrew Riemer, Sydney Morning Herald, May 11-12 2002

How ultra is ultra? Is ultra exemplified by its relentless form, the brilliant style or more by its refusal of easy epiphanies and resolutions, bathey glows?  — Michael Farrell , CORDITE, May 06, 2003

The poems are masterful because they survive so much thin ice. They do not fall into cliché, sociology or archness. They are highly visual, cinematic poems that Tranter directs like Polanski. They can make us feel like we are in a film; then, just at the right time, we are back on the street, where the poet stands with his merciless phrasebook… Brilliant. — Barry Hill, The Weekend Australian, 13 October 2001

Ultra is available from Brandl & Schlesinger, PO Box 127, Blackheath NSW 2785, Australia. Ph (612) 4787 5848 / Fax (612) 4787 5672 / vsumegi [ât] brandl.com.au, or:
http://www.brandl.com.au/

Heart Print, Salt Publishing (Cambridge England), November 2001, 106 pages, ISBN 1-876857-32-3.

“Tranter may now be Australia’s most important poet... During the 1990s, Tranter emerged as an international figure, first by editing well-received anthologies, then with the Internet journal Jacket...
      Of its four sections, the second and best, ‘The Alphabet Murders’, makes a great introduction to his work: its 27 segments (from ‘After’ and ‘Before’ to ‘Zero’ and ‘After’ again) use their meta-detective tales as excuses to talk about reading, writing, associative thought and literary history.
      The untitled set of 28 sonnets and delightful prose poem that conclude the book present light-fingered commentary on subjects from ‘Starlight’ to absinthe and middle age: ‘I re-live youth asleep,’ one affecting line admits, ‘and leave it behind at dawn.’ Readers... will see why Tranter has mattered to Australians for so long.” — U.S. Publishers’ Weekly

You can browse a detailed annotated bibliography of John Tranter’s published books on his homepage.

You can order many of his books via the Internet (even some out-of-print titles):

For pre-loved or hard-to-find books: http://www.bookfinder.com/
In Paris, France — The Village Voice Bookshop at
          http://www.paris-anglo.com/clients/vvoice/html/info.html
In Sydney, Australia — Gleebooks at http://www.gleebooks.com.au/
In Melbourne, Australia — Readings at http://www.readings.com.au/
In Amazonia, at Amazon at http://www.amazon.com/

..and our Bookstores pages have links to 30 stores around the world!

Counter at left: number of times French poet Jacques Prévert has been mistaken for the underwater explorer Jacques-Yves Cousteau, inventor of the self-contained underwater breathing apparatus, the acronym for which is often mistakenly identified as ‘aqualung’; cumulative tally.

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Electronic mail

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