Tuesday, September 24, 2013

Plagiarism - a fundamental truth.

It’s been a rough year for Australian poetry with 3 plagiarism scandals hitting the papers.  I won’t link to the stories nor will I mention the names because the plagiarism’s been proved and those caught in the scandal have made their statements and some their amends. 

There’s a stage at which a point has been made and to pick apart responses, to prove points, to be right, to win the argument adds nothing to the discussion.  There’s been claims of bullying of people taking the issue too seriously.  That there are other more worth causes to get angry about. Well that may be true, but most of us are capable of fighting a number of injustices at the same time.

It’s easy I think, to downplay the issue, when your work isn’t stolen or when your not the one who misses out money, awards, opportunities. Others have tried to shift the blame to a culture of fame and prize winning and while there is some heft to that argument as an influence, I am far from convinced that it’s significantly to blame.  And no doubt the very tools that make writing poetry and sending it out into the world (i.e. the internet and social media) a joy when the accolades come roaring in, make for a very diffuse and pervasive personal hell when criticism, let alone anger is turned back on you.

This post is more about the nebulous construct of the “poetry community” or communities that I,due to geography and inexperience, sit outside of to a large extent.

My own thoughts keep being drawn back to the same fundamental kernel of truth. 

I know and have known since about primary school, that copying another’s work is ethically wrong.  Passing it of as my own work is ethically wrong.

Is this fundamental truth too simplistic?  I don’t think so.

For sure, we age and our spongelike brain soaks up influences, ideas, lines of thought, lines from books, words, word groupings and it can be hard to be sure that you have something original, something that hasn’t been said before. I think this is why my poetry gets rejected – it’s simply not original enough (or it’s shite, or both).  I have yet to find a distinct voice, something others cock their ear at and notice as something new.

But in each of the recent cases(even the international ones), we really don’t need to go past this fundamental, that stealing something belonging to or created by others and passing it off as your own is wrong - wrong on a level that a 10 year old can understand.

But Shakespeare and  [insert famous literary figure here] did it.  So what if they did?  Do we forgive them that wrong because the end result is good? Do we say bugger it and start thieving words left right and centre? No.  We should hold ourselves and the form to higher standards, the work will stand on its merits and all those involved deserve credit.

I have no issue with experimental poetry, with cento, with homage, with re-workings but it has to be clear upfront. The reader, whether they are a newcomer or an old hand needs to know.  There’s at least two reasons for this (and maybe more):

  1. you acknowledge the source and your role as an arranger, a conductor of lines which in itself is a skill – credit where it’s due
  2. you lead readers to discovering other poets, to understanding more about poetry, to broadening their knowledge and experience.

I am less concerned about those who plagiarised, they will continue writing poetry or they won’t, they will give us something of themselves or they won’t ( I hope they do). I am more concerned when the hand wringing and the axe grinding begins and we don’t expect poets to be responsible for their words, when we don’t expect them to be fundamentally honest.

We can forgive and learn or we can ignore and have the conversation again

Thursday, September 19, 2013

Long overdue update

[Midnight sun in Advent Bay, Spitzbergen, Norway] (LOC)for the bots that are mostly my audience and those rare commenters that have graced these pages.

The poem Dead Messengers, mentioned in the previous post has been selected for publication in an upcoming print anthology, to be released next year.  So I am a little chuffed at that.

On the poetry front, it’s been slow; other activities ie podcasting, post-production and work seem to be taking their toll. I missed attending talks by Mark Tredinnick at SA Writers Centre and performing at some poetry slams due to continued car problems.

The recent news about Graham Nunn has me feeling a  bit adrift and wondering which direction to take(has me questioning the value of workshops, mentoring etc).  I have a really supportive online group of writers and friends but aside from reading poetry and books on writing it, I am feeling it a struggle to search out the mentoring or workshops that I think might benefit me.

Overland has a deal with a subscription and a reduced fee to enter their rather generous poetry prize and I am also weighing up whether it’s worth joining Australian Poetry.

I wrote the poem below before news of the publication but much of it still holds true.  I expect though that this is a fear that everyone has.  I should probably be less morose and give myself a kick up the arse.

 

Too Scared to Dive

a wordsmith
I was once kindly labelled
and vain
I took it as a source of private pride
until
I swam from sheltered pool
into the unprotected swell
of an ocean
full of poetry.

schools
of loud and angry activists
of new formalists, imagists and
symbolists
and every once in awhile
the whale-song
of literary
leviathans.

tossed
by currents
and movements
drowning
as I splash about in panic
reaching for different lifelines
the solidity and stricture of form
then the freedom
of liberated verse.

caught
not wanting to strike
for shore
and too scared
to dive.

 

Audio file here

 

First self-published at the Poetry Zoo website.

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