[B.R. Whiting; Australian Poet ] Large Archive of correspondence and poems in typescript (many unpublished.

Author: 
B. R. Whiting (1923-1988), Australian Soldier Poet.
Publication details: 
[Letters] 1976-1987.
£5,000.00
SKU: 22136

A significant archive of material relating to the Australian poet B. R. Whiting (1923-1988), from the papers of his close friend and mentor the English playwright Christopher Fry (1907-2005). In addition to 171 typescripts of 136 different poems by BRW, many of them unpublished, the collection contains several long and revealing letters from him to CF, as well as an important letter to CF from the Welsh poet Leslie Norris (1921-2006), containing a marvellously percipient analysis of BRW's work, together with copies of letters to and from BRW and the publisher Robin Gregory, and four lists of BRW's poems revealing his preferences and those of CF, Norris and Gregory. Much of the correspondence relates to the selection of poems for publication by Gregory in the collection 'The Little Desert' (1978). BRW's initial choice of 68 poems (Item Eleven below) is whittled down by Gregory to nineteen (in Item Nine below), before CF takes over. Meanwhile BRW reveals to Gregory that the writing of his poems 'was directly inspired by Christopher Fry, and they were written with him, as audience, in mind', declaring that CF's 'approval has set me free to write'. Two letters from BRW to CF, both from 1983, concern the writing of his memoirs, to which they supply additional information.Bertram ('Bertie') Ronald Whiting - dubbed 'the last of the courtier-soldier poets' by Stanley Moss - was born Bertram Herbert Whiting (he explains his change of middle name in Item Ten below) and raised among the Melbourne upper-classes. He joined the Australian Army in 1940, saw active service in Burma, and became ADC to Earl Mountbatten and later to the Governor of Bengal, R. G. Casey. After the war he pursued a brief career as a beekeeper in Victoria and South Australia, before marrying the sculptor and painter Lorraine Fraser, sister of Australian Prime Minister Malcolm Fraser, in 1948. The Whitings left Australia for good in 1952, living first in England and then, from 1955 until his death, in Italy, where the couple lived a privileged life of skiing, yachting and foreign travel, with a circle of friends that included artists, writers and celebrities.BRW's play 'Empress with Teapot' was produced at the Royal Court Theatre in London in 1961. CF was responsible for two selections of BRW's poems: 'The Little Desert', a slim 'chapbook' published in 1978, was 'chosen and introduced by Christopher Fry'; and 'The Poems of B. R. Whiting', a small volume published after BRW's death (1991), in the selection of which Stanley Moss assisted. BRW's papers are in the National Library of Australia, and his apartment in Rome is maintained, in accordance with his widow's wishes, as a residency for Australian writers. His papers are in the National Library of Australia.There are notable exceptions to the minor nature of the occasional differences between the versions of the same poems in the present collection. Among these is the suppression of the 'Pommie Bashing' in the poem 'The Hoplite'. That poem is present in two versions, almost entirely different from one another until the conclusion. What would appear to be the earlier version of the poem begins: 'The voice said, "Jeez I love to punch a Pom." | I looked, he was Australian, young and brown, | A cyclist with a fighting face, and from | His story, he had knocked the bastards down | On street and stairway when he had excuse | More for their fat, their whining city days | Their little views for which he had no use | Than for a fault. Nature adores the ways | Of war, and though I looked at him in hate | I felt the furnace where his blood was fired, | Conscious my wit could never compensate | For the iron muscles […]'. The other - presumably later - version begins: 'A professional australian cyclist said | He loved to make the city fats drop dead | With fear - if they should bump him on a stair | He'd shake them till they quaked, and glare | Until they stuttered, muttered an apology. | The condition of life is war - psychology | Knows that. | I looked at him in hate, | Conscious my wit could never compensate | For the great muscles […]'. There are also significant differences between the two versions of the poem '"Servyn", 4/5/78'. One version begins 'Dead forests rise for the children of the wind | The channel of tradition damned into a Round Pond, | Games kindle the play of the sovereign mind'; the other starts: 'The word into the deed, rotten forests rise again, | Petroleum into plastic; and art, and hardware, | All at the service of a game, for gain,'.The present collection is in good condition, with light signs of age and wear. The following description is arranged in five sections.A. Seven letters from BRW to CF, 1976-1983B. Letter from Welsh poet Leslie Norris to CF, giving his assessment of BRW's workC. Copy of letter from publisher Robin Gregory to BRW, with copy of BRW's reply, both 1977D. Three selections of poems for inclusion in 'The Little Desert'E. 171 Typescripts of Poems by BRWA. Seven letters from BRW to CF, 1976-1983Comprising: three Autograph Letters Signed, two Typed Letters Signed, and one Typed Note Signed. One of the letters is co-written by BRW's wife Lorraine ('Lorri'), and two are written jointly to CF's wife Phyllis. All but the second, which is signed 'Jack Steel (and Janet)', are signed 'Bertie'; and all seven are addressed from Rome. Five of the letters are addressed to CF as 'Dearest Xto', the other two being addressed to 'Dearest Xto and Pha'.ONE: ALS, 29 June 1976. 1p, 8vo. Enclosed with fourteen poems (present as G in Item Fourteen below) in envelope addressed from Italy to 'Mr & Mrs Christopher Fry | The Toft | East Dean | Nr Chichester | Sussex | Inghilterra'. 'These days, what we all need is jokes, and they are in short supply as rainwater. 'He gives the example of 'One small laugh from the election', concerning 'a representative of "Democrazia Proletaria"'. Regarding the fourteen poems he is sending he writes: 'You will see from these poems that I have, to adapt a useful image of Dr, I mean Sir Pelham, Wodehouse, somewhat got the sea up my nose.'TWO: ALS, 20 September 1977. Signed by BRW 'Jack Steel (and Janet)' (the joke is explained in the following transcript). 3pp, 8vo. On two leaves also carrying a one-page Autograph Letter to Fry from BRW's wife ('Lorri'). Rome; BRW begins: 'Dearest Xto, | How good of you to say you will do an Intro for The Little Desert! It fills me with pride and gratitude, and it will fill the little volume with light - I feel like one of those plants photographed recently with the aid of special rays, a plat that glows quietly when it is praised and appreciated. Not that glowing quietly is exactly the right phrase, unless it can be expanded to include in its normal acceptation both shouting aloud and the release of auspicious forewords.' He notes that Fry 'did not entirely approve' of publisher Robin Gregory's choice of poems: 'I confess, I thought it a bit individual'. Gregory gives Fry 'carte blanche to revamp it. Now, the question comes up of the amount of your time and energy that can decently be expended. Would you choose?' Changing the subject, he recalls 'Phyl's collection of names from the Hospital Registry or whatever it was called', and sends 'a list of some of the most famous strip-tease dancers from The Crazy Horse, the Paris night-club-vaudeville', and 'a selection of real American names'. He continues; 'As I tell Lorri, who dislikes her name Lorraine, she might have done worse. I have all my life detested Bertram, but have never had the courage to change it to the name I gave myself in dreams when I was a weevilly sm-all boy of ten: Jack Steel - Jack Steel Whiting would have done splendidly - but alas, in Russian it turns out to be Stalin, and look where that gets you! So perhaps it is foolish to interfere with destiny'. (He later reveals that his wife's second name is 'Janet': 'like discovering that Mrs Thatcher was baptised Nicandra or that Edward Heath was really Balthasar Heath.') The letter is interrupted here and resumes with BRW discussing his wife's telephone conversation with Fry, He discusses Fry's 'programme for the immediate future', and states that he is sending Fry 'the list of the 19 poems allowed by Robin Gregory. I find my selection differs much from his, but no matter - what I would humbly and with pure heart suggest is that you cast an eye over it, alter what you like, and send it to the Hut Publications. Would that be OK? You know that really I would have proposed that you do the selection, but this way it may be easier for you - ?' A little more small talk follows before his wife takes over the letter, to report that she and BRW 'have been very energetic this summer and apart from our sailing have walked miles up very steep hills'. She discusses their activities before turning to the subject of names. She ends her part of the letter: 'My mother wished to call me Allegra or Elecktra [sic] I don't suppose it would have made much difference - | No more now, love to you both | from us both. | Lorri'. There follows a joking postscript by BRW, signed 'Jack Steel (and Janet)'.THREE: ALS, 19 October 1977. 1p, 8vo. Discussing the selection of poems for 'The Little Desert'. 'I quite agree to include Smile Please. The poem you did not have & that R. Gregory chose (and I did not choose) is In Praise of Order. I wouldn't put it among these 19, though I don't dislike it enough to destroy it. | The Little Desert is the only one of the Critical Quarterly poems we have chosen - but the London Magazine printed "Individualist" which you dont think to include. I dont mind. It seems to me there is a pretty wide area of agreement between us anyway.'FOUR: ALS to 'Xto and Pha', 6 September 1980. 4pp, 8vo. A long letter, touching on themes including 'the proofs of Uncle Charlie's book', an equestrian statue by Elizabeth Frinck being unveiled at Goodwood ('Frinck is very grey […] Clouds, not crowds, at Goodwood?'), a planned day-trip by Fry to Wien, BRW's 'latin joke' about 'a truly ghastly old whore', the America's Cup, 'the new Japanese super robot'. For the rest of the letter BRW indulges in a flight of fancy: 'It is far more sensible to cultivate the Little People, which you get free in your head. Just before his death from DT's, my great-Uncle, Burly Mac Caugh, saw the Little People, so they say. I have to put it like that, because he never spoke again, afterwards. This was in Kildare some time back. Burly Mac Caugh's real claim to fame was that he pulled off a right and a left on two Dublin Military Police, laying them out. There was, for a time, so my mother said, some talk of putting up a monument to him - but he embezzled the cash. He was a black man, like me, and his huge sons were known as Gog and Magog - they made soft-drinks in Ballarat, a family disgrace. Fancy being the man who made soft-drinks at the Gold Rush - it sounds all wrong somehow, the bearded digger at Eureka Stockade saying to his mate, "Well, time for a glass of ginger ale." It ought to have been known as Eureka Lemonade. When a bunch of the boys were playing up in the Malamook Saloon, they were playing up on cups of china tea - with, I hope, lemon.'FIVE: TLS to 'Dearest Xto & Pha', 22 January 1983. 2pp, 8vo. The letter begins with BRW saying that his 'only laugh of this year' was as a result of a card that Fry sent. He then discusses his memoirs, instalments of which, he has been sending Fry: 'the nuisance is finished (I refer to the nuisance of the manuscript, the long story) I have now sent you mercilessly Part II, and am working away at Part III, so that I cannot see how you will ever finish it. But as it is written for you, to make a story for you, the only thing I can suggest is the patient sigh and a dash of procrastination.' A long digression on 'the Nutrias' follows, before BRW returns to the subject of the memoirs. 'Phyl mentioned in her card that I had made the story a bit too sweet, and Lorri said the same. But, apart from wanting to remember it like that, so many of the people mentioned are still alive! A good example is Lady Casey, and she is above all why I am sending you the story to read - she is old, now, and very stern, and given to tearing things up, which understandably I will not have. I have written it as I remember it, and have not cared much where the chips fall, and I am not likely to be unkind about people - Life has been unkind enough! The Awful Coralie Fairbairn for instance was shot dead by her stepson - after that, I don't see that any comment of mine is necessary. Rosita Spowers did say "I wanted to do it myself", but you cannot put that sort of thing in a book. Though I, too, would have liked . . . | Lorri is snorting at the whole endeavour, but it has got me writing again, and I hope it has got you reading'.SIX: TLS to 'Xto', 11 March 1983. 1p, foolscap 8vo. The letter begins with news of the completion of the memoirs. 'The word goes out, even as far as East Dean, that this time its good news. It is good news - there has to be such a thing after all! The Very Last Instalment has been put onto paper-thing (I call it that) and has been sent (some bad news mixed as always with the good) to you, in the hope that at the very least you may find a few good stories in it.' He recounts a story he has 'left out', concerning how, when 'we were going through a particularly bad patch of desert sand, a place where the truck was not allowed to stop under any circumstances at all because of bogging down and having to be dug out (Ooofa!) and we were miles from help […] a Mouse ran up Robert Reid's trousers'. He gives examples of 'Diana Graves's ripe phrases', which were 'also left unsued'. 'I am reminded that I have also not mentioned Ted Roethke, a good poet - but the time he dined here with us, he was also a very drunk one'. He reports that he and his wife are 'going to Paris, where Lorri has a Show'. The letter ends: 'Don't read the enormous mole of memoirs if it seems too much to you. I have sent it to East Dean because it has become a bad habit. I do not mean to take up all your time. | And by the way, we saw that Hurrican Higgins had won the World Championship Snooker again - I said it was Good News.'SEVEN: TNS, 11 March 1983. 1p, 12mo. He records '[a]nother thing left out of my memoir', an exchange between 'Aunt Rossie' and 'Lorri's Mother'.B. Letter from Welsh poet Leslie Norris to CF, giving his assessment of BRW's workEIGHT: ALS from 'Leslie', i.e. the Welsh poet Leslie Norris (1921-2006) to Christopher Fry, discussing the possible publication of BRW's poems, giving a critical overview of BRW's work, and a list of titles of poems by BRW which he likes best. Without date or place. 4pp, 8vo. In calligraphic hand. The letter covers the first two pages, and begins: 'Dear Christopher, | I agree that a selection of these would make an attractive book, & I've made a list of those I like best. | They aren't, however, outstanding enough to make me believe they would be accepted readily & I imagine you would have to introduce them personally (to some publisher you know, perhaps)'. He gives five suggestions, including Ian Parsons, about whom he writes ('send Parsons all the poems, since he likes to make his own selection'). Postscript: 'It seems that your friend knows Jon Stallworthy. OUP have a distinguished poetry list, of course, & Stallworthy rules over it.' The list of thirty poems also covers two pages. Regarding the poem 'Stallion' he writes: 'marvellous, Roy Campbell-like opening: tails off rather'. The list concludes: 'Renewing the Queen (good, this) | (and I don't like "The Union". It's an ok poem for bee-keepers, perhaps). | Not all of these are excellent, but many are fine.' The list is followed by the following thoughtful analysis of BRW's work: 'Generally, I like those poems in which the poet has his eye clearly on the object, in which his imagery is hard, palpable & entirely relevant, which do not moralise or philosophise. The more abstract poems seem to me rather tired & ordinary, the images commonplace, the rhythms slack. But his observation of foreign places is filled with white sunlight & he does not have to tell us of his response to events: this is implicit in the work. Generally, perhaps again, a number of the poems are written under too low a pressure.'C. Copy of letter from publisher Robin Gregory to BRW, with copy of BRW's reply, both 1977 NINE: Photocopy of TLS from Robin Gregory to BRW. On letterhead of The International Poetry Society, Orbis - Ipse, Published by Hub Publications Ltd., Youlgrave, Bakewell, Derbyshire'; 14 July 1977. Begins: 'I've lived with THE LITTLE DESERT for some months since Christopher Fry sent the collection to me; and I should, with your agreement, very much like to publish a small chapbook in HUB PUBLICATIONS LTD series.' He gives his intended title, with the titles of the 'poems I'd like to include'. He proposes an arrangement, 'which will hardly buy you a new Ferrari, but will at least put it on a formal sort of footing'. The letter concludes: 'Let me add, (perhaps I should have started there, but I suppose it was implied in the details above) how much I have enjoyed the poems.' With underlinings (by Fry) in blue ink and red pencil.TEN: Photocopy of TLS from BRW to Robin Gregory (being the 'copy' referred to in the letter itself). Viale di Trastevere 259, Roma, 00153, Italy. 3 August 1977. 1p, 8vo. BRW 'would be delighted if you brought out a publication, as you suggest. It is good news indeed.' He deals with four 'minor points', the second regarding his initials: 'I have been a friend of Christopher Fry for a long long time, and occasionally I have plaintively begged him to cease giving me that B. H. - the H being of course horrible Herbert, which I happen to detest - but no, he will not change his ways, and of course he has handed the H on to you. It is, as I say, the simple but elegant R.' The third point reads: 'There is a somewhat unusual aspect of these poems, in that their writing was directly inspired by Christopher Fry, and they were written with him, as audience, in mind. I have not been able to persuade anybody at all to read what I wrote, and his approval has set me free to write. I had always thought to ask him to recall in a short introduction, the starting of the landslide, as it were - - but do not know whether you think it a good idea - - nor do I know whether he would think so. Certainly most of these poems would not have been written were it not for his attention. (I am sending him a copy of this, to see what he thinks.)'D. Three selections of poems for inclusion in 'The Little Desert'ELEVEN: ['The Little Desert, & other Poems.'] Typed list of sixty-eight poems selected by BRW for 'The Little Desert' (thirty of the sixty-eight are present in a folder as D in Item Fourteen below), in parallel with Autograph List in red ink dividing the poems into three sections: 'India', 'Australia' and 'Italy'. With pencil notes on location ('India', 'Sea', 'Australia (London Magazine)', 'Italy (ski-ing)', '(General: Sea: S. Pacific - Himalayas: - great [?] Australian desert: Laghe di Vico', 2pp, foolscap 8vo. TWELVE: Typed list of titles of nineteen poems (selected by Fry?), headed '"The Little Desert" | Selected Poems by B. R. Whiting.' Divided into four sections. 1p, 8vo. At foot, list of titles of six 'Possibles I had to omit'. Ticked and underlined (by Fry) in blue ink and red pencil.THIRTEEN: Manuscript list (by CF?) of fifteen titles of poems by BRW, beginning with 'Winter in Town (already in)'. 1p, 12mo.E. 171 Typescripts of Poems by BRWFOURTEEN: 171 typescripts (194pp, 8vo) of a total of 136 different poems (twenty of the poems being present in two typescripts; six in three typescripts; one in four typescripts). Fourteen poems accompany a letter from 1976, and three of the others are dated (to 1960, 1978 and 1979). A few of the poems have manuscript deletions and emendations, and one poem has a typed seven-line emendation pasted over the original text. The 171 typescripts are arranged in thirteen packets and one folder, and lettered A to N, the last being a miscellaneous collection, the others grouped together for reasons including watermark, fold lines, and paper stock. The four notable groupings are:D. Thirty poems from a sequence of 68, accompanied by typed list of titles (the list is Item Eleven above), and by a title leaf to final sequence of three poems. In brown card folder with 'BERTIE WHITING | POEMS' on cover in Fry's hand, numbered to 66 (the last being in three parts).E. ['BRW's choice'] Thirteen poems on fourteen leaves, paperclipped together, the first poem headed 'BRW's choice' in Fry's autograph.F. Twenty-two poems, on 25 leaves of paper with 'Croxley Script' watermark, in sequence paginated to 27 (lacking pages 14, 24, 25).G. Fourteen poems on fourteen leaves. Included in envelope with covering letter dated from Rome, 29 June 1976 (Item One above).The following is an alphabetical list of the 171 typescripts, with the poem's grouping in square brackets.Absence ('Nothing much to look at, a boring line,') [I]After ('Over this sea there are no more fishing boats,') [G]After travelling so far ('In the Autumn light, after travelling so far,') [D, 65]And Now - - ('Trouble will come, the engine fail,') [B]Anniversary ('But I am inarticulate'), at end: 'BRW, Rome, 6/5/60.' [N]The Ants ('What a Hell of dryness and action') [B]The Arab Healer ('We all chew one another's words,') [D, 30]The Archaic Stare ('Grumbling a Promise of visitation') [D, 52]At the Root ('Set in a world I have invented'), 2pp [I]Before the Worst ('Dirty light growing like a quality of things') [G]Biped ('I am not with them when they talk about the soul.') [C]Biped ('I am not with them when they talk about the soul.') [D, 43]Boatie ('As young as Venus, and as vain,') [I]Bonifacio, Corsica ('Between the tall cliffs of striated sandstone') [G]Boxes ('Will you just look at that metal mast,'), with a half-line deleted in ink, and the reverse of the leaf carrying the first two lines of a draft of another poem [B]Breuil (in five parts, the first beginning: 'Trees that are seen but rarely looked at,'), 2pp [B]But - ('There is so little to show how swiftly the years have gone.') [D, 2]By the Plough ('Aldebaran, Sirius, Al Na'ir - -') [L]The Cavalry ('We were brought up to dream of cavalry') [D, 32]The Cavalry ('We were brought up to dream of cavalry') [F, 21]Ceremony ('To watch the sun rise on the Himalayas') [D, 50]Cervinia ('To be on the slopes of the Matterhorn') [A]Cervinia ('To be on the slopes of the Matterhorn') [E]Cervinia ('To be on the slopes of the Matterhorn') [F, 18]Chart ('Corsica and Sardinia on the Chart,') [G]Choice ('Memory has no diamonds;') [E]Choice ('Memory has no diamonds;') [D, 55]Christmas Eve ('Now the skyline hills scratch') [D, 53]Classical Landscape ('Half a mile from the Autostrada') [H]The Clique ('The waves arrived like . . . what?') [B]The Coast ('It is a coast for shipwreck,') [F, 10]The Confidence Trick ('In the days of my confidence when a cunning lie'), 2pp, with autograph emendations in pencil, including the addition of two lines [A]The Confidence Trick ('In the days of my confidence, when a cunning lie'), 2pp [F, 2-3]Conquest ('The crew is one marcoscopic fact') [L]Cowbells ('Waterfalls leap into light and echo down') [J]Credit Account ('The goldfish is a sign for money,') [D, 48]Dancing ('Not by chance the walls and muscles of the heart') [D, 25]The Eden Trick ('Throughout the night a fresh breeze held') [K]Entropy ('All things have limits, do not stay the same;') [G]The Everlasting ('A warning signal in Imperial Purple,') [L]Evolution ('Strolling in the summer grass') [F, 19]Experience ('I believe in ghosts, in miracles, in portents') [N]The Facts ('The facts are bare, merely a list of parts,') [L]Fences ('They lay hold on virgin land'), 2pp [C]The First Morning ('Gulls, cold air, morning'), 2pp [L]Flying Dutchmen ('Disparate elements needing a focal point;') [L]Focus ('Take a new boat, flying downwind, sails full,') [L]For Sale, Robe, South Australia ('Beside the road the cliffs are golden sandstone'), with a line and a half deleted and replaced in BRW's autograph [E]For Sale, Robe, South Australia ('In the salty swamp the Banksia is a giant,') [F, 22]Foreshadowed ('Is the paen of wind in telephone wires') [E]From the Sea (in five parts, the first beginning 'In mileage of Eden,'), 2pp [B]Gandhi, 1946 ('Did you like him? No. What was it, then?') [E]Gandhi, 1946 ('Did you like him? No. What was it, then?') [F, 1]The Gaoler ('On the sea, first of all the lilting') [J]The Gates to the Show ('The harbour is the end of every voyage;') [M]Giant Strides ('Autumn, the last Sunday of the tennis game,'), with autograph emendation of last words [D, 62]Giant Swing ('As one professional gymnast, he was two:') [L]Gone ('They are motoring down the canal and past the moorings') [L]Hadrian's Villa ('Thick weeds on a bare skyline,'), on cropped leaf, with 'Christopher' in autograph on reverse [I]Haunted by the Sea ('Every City casts a glow') [L]Heard, Shared and Remembered ('Contemplation gives the machine a gender') [K]Heard, Shared and Remembered ('Contemplation gives the machine a gender;') [L]Hieroglyph ('Worn by the tears of time and winter') [G]Historical Research ('After her funeral, and the newspapers,') [E]Historical Research ('After her funeral, and the newspapers,') [F, 6]Home Thoughts from Abroad ('This city could never appease') [D, 54]Hoplite ('The voice said, "Jeez, I love to punch a Pom."') [H]Hoplite ('A professional australian cyclist said') [I]Imprisoned ('Leaves that define the valley'), 2pp [C]In a Dawn ('- - once I stood | In a dawn on the Torsa River near Nilpara,') [J]In Praise of Order. (For Jon Stallworthy) ('The surf hovers | Thunder grinds | The lines of sand'), 2pp [J]In the Telescope of the Sextant ('In the telescope of the Sextant you hope to see') [G]In their Delight ('Light in the wind the kestrel mews') [C]Individualist ('Splitting firewood I often found') [E]Individualist ('Splitting firewood, I often found') [I]Individualist ('Splitting firewood I often found') [F, 26]Its a War ('Off the eyes of a corpse, take the coins,') [B]The Jeweller ('In the deepwater deadwood of sunken logs,') [D, 16]Joy of Living ('Processional caterpillars, a funereal train,' [D, 28]Joy of Living ('Processional caterpillars, a funeral train,') [E]Joy of Living ('Processional caterpillars, a funeral train,') [N]Knowledge ('Knowledge hangs a hawk shade') [D, 38]The Lake of Silence ('You cannot explain the connection,') [B]Les Moines ('For an object whose height is known in advance') [G]The Lido ('I was born a plainsman') [F, 7]Limits of Knowledge ('We can make up stories about it'), with seven lines at end deleted in ink [C]Limits of Knowledge ('We can make up stories about it') [D, 41]The Little Desert ('There are no other skies by night') [E]The Little Desert ('There are no other skies by night') [F, 11]The Locked Door ('When I began to walk in my sleep') [D, 58]Looking up History ('They were talking about the young King') [D, 61]A Low Profile ('Life is the slime at the meeting of land and sea;') [G]Lucky Men ('Dugout canoes, logs lashed together,') [L]The Marina ('This is the realm of the tangible') [B]Menagerie ('I never had a hope that never lied;'), 2pp [M]Mooring Flowers ('The wide twin-screw diesel luxury cruisers') [L]The Net ('To dig is not to turn earth') [D, 21]No Joke ('"It's not a joke," he said, "I have a ghost -') [F, 20]No Law, No Limit ('Along the invisible line between sea and sky') [K]No Law, No Limit ('Along the invisible line between sea and sky') [L]Now we are Forty Three ('The middle-aged are great liars') [D, 39]The Olympic Game ('The runner runs another sort of race') [B]Once Upon a Time ('Once upon a time young Tiger Tim') [F, 23]One Step Further ('Population and Industrial Growth') [G]Oneself the Spectre ('Run in horror from Windsor where, for eleven years') [C]Oneself the Spectre ('Run in horror from Windsor where, for eleven years') [D, 44]The Optimists ('In the morning we can say') [K]The Optimists ('In the morning we can say') [L]Our Own Weather ('If I see only one') [F, 15]The Party ('Brought from my cot and only half aware') [D, 13]Pegasus ('Wild crested waves, and the gale blowing:'), dated 'December, 1979' [M]Philosophy ('I don't know much about reception -') [A]Philosophy ('I don't know much about reception,') [E]Philosophy ('I don't know much about reception,') [F, 4]The Poison Barb ('Was it my brother?') [D, 29]The Rainbow Bird ('Among trees cut low for eucalyptus oil') [D, 66.II]The Real ('Colour, shape, movement I can see -') [M]Renewing the Queen ('Pale in the shadow of a Springtime fable'), 2pp [E]The Safe Harbour ('Between the lateral movement of the hull') [G]Sailing on Laghe di Vico ('One hour from the city and alone on the water') [J]Saved from Eden ('For a day and a night the fresh breeze held') [L]Scirocco ('The air thick with salt, all the atmosphere') [G]The Seasons Change ('In the country of my childhood blood ran slow') [H]The Seasons Change ('In the country of my childhood blood ran slow') [N]The Secret Fountain ('The moon melted in ripples') [N]"Servyn", 4/5/78 ('Dead forests rise for the children of the wind') [K]"Servyn", 4/5/78 ('The word into the deed, rotten forests rise again,') [L]The Silent Wood ('In the deepwater wood') [F, 17]Smell of Man ('On a Temple in dim light'), 2pp, with amended seven-line section typed on slip of paper and pasted over text [D, 36]Smell of Man ('On a Temple in dim light'), 2pp, on leaves with punch holes, with last five lines deleted in pencil [I]Smile Please ('Years ago, when I was in my prime,'), with two minor autograph emendations in pencil [A]Smile, Please ('Years ago, when I was in my prime,'), 2pp [F, 8-9]Smile, Please ('Years ago when I was in my prime,'), 2pp [N]A Society ('At evening, after great heat, the mist rises') [I]Stampede ('A little girl in a pierette dress,') [F, 16]Station Stallion ('He was a mirror curve of muscle') [A]Steady Rain ('No sailing today, and the glass low,') [I]Still Life ('Beyond art, well this side, a loaf of bread') [L]Still Night ('The cold sea no longer seems normal,') [L]Strange Confession of a Citizen ('Being healthy rather than introspective') [D, 31]The Sub-Continent ('To distil a feeling about the Indians:') [F, 12]Summer Calm ('Sky a grey pearl, and on it one pink planet') [L]Sunken Church, Cittaducale ('You climb down, having parked the car;') [A]Sunken Church, Cittaducale ('You climb down, having packed the car;') [N]The Thirties ('This is the spectre of a bloody rose,') [M]Three Poems: - I. Renewing the Queen. | II. The Rainbow Bird. | III. The Union, 1p (covering title-page only, see separate entries for the three poems) [D, 66]Tiger Shooting in Bengal ('When I tell the story, I was really one,') [J]To Get Ready for a Journey ('To get ready for a journey, set out for the desert,') [L]Uncertainty ('Uncertainty is rife, and not precision;') [I]Under the Willow ('You cannot go inside'), 2pp [D, 35]Under the Willow ('You cannot go inside'), 2pp [F, 27]The Union ('Late at night in Summer'), 7pp [D, 66.III]The Unpardonable ('Not far from a dry dam, blundering') [M]The Vermin Hunt ('Take a piece of metal, say') [A]The Vermin Hunt ('Take a piece of metal, say') [E]The Vermin Hunt ('Take a piece of metal, say') [F, 13]The Vermin Hunt ('Take a piece of metal, say') [N]Vittoria ('In the Piazza, Vittoria was one of the sights;') [L]Voyages of Discovery ('Life is a trap in which to die') [C]Wake ('The wake, like a woman's photograph;') [L]The Wanderer ('He did not want what this life has to offer,') [K]The Wanderer ('He did not like what this life has to offer;') [L]Watching a man die ('Watching a man die | Your soul on his lips') [D, 27]Watershed ('Is this the watershed at last,') [B]The Waves ('Held in their laws and fluid forms') [G]Whales ('They haunt me in the city of the night') [K]The White Stoat ('Daytime planned, all the house in flower,') [E]The White Stoat ('Daytime planned, all the house in flower') [F, 5]The White Stoat ('Daytime planned, all the house in flower,') [N]Window View ('One white progressive line of a high trail') [G]Winged Victory ('The living dust on the silver sea, the yacht,') [K]Wonder: R. E. W. ('When very small I went with her') [I]