<p>&ldquo;Duggan&rsquo;s is a poetry that determines to surprise: almost daring a reader to exclaim: you wrote like this about that?&rdquo;&nbsp;&nbsp; &mdash;Alan Wearne <em>Sydney Morning Herald</em></p><p>&ldquo;Duggan&rsquo;s poetry has the virtue that it never &lsquo;abandons the local&rsquo;. Like Paul Blackburn&mdash;a poet Duggan manifestly admires&mdash;he builds his work out of what he finds in on or about the premises.&rdquo; &mdash;Tony Baker <em>Jacket</em></p><p>&ldquo;How ferociously Duggan attends both to the there of the world . . . and the here of writing.&rdquo; &nbsp;&mdash;John Latta <em>Isola di Rifiuti</em></p><p>&ldquo;The small poems &hellip; slowly build up to a much larger narrative; a narrative of time and memory of thinking and looking and being in the world a kind of history that is happening on the sidelines.&rdquo; &mdash;Fiona Wright&nbsp;</p><p>&ldquo;The poems of <em>Allotments</em> and <em>Under the Weather </em>can often seem easily-done casual jottings but there is a complex pattern behind their conception and an extraordinary quality of poise about their execution. Both books remind us what a remarkable poet Duggan has become.&rdquo;&nbsp;&nbsp; &mdash;Martin Duwell</p><p>&ldquo;I think of how Pound defined the image as &lsquo;that which presents an intellectual and emotional complex in an instant of time&rsquo;; and still being thoroughly sane back in 1913 he went on to say: &lsquo;the natural object is always the adequate symbol&rsquo;. Such an imagist doctrine has always been at the heart of Laurie Duggan&rsquo;s sharp-eyed work ever since the days when he was at the core of a group who got together at Monash back in the 1960s.&rdquo; &nbsp;&mdash;Chris Wallace-Crabbe</p><p>&ldquo;The immediacy of Duggan&rsquo;s perceptions possess a life which is not held in by the contours of the field but which realises the geography of &ldquo;range&rdquo;. This fine collection is more than &ldquo;singular spaces&rdquo; and lives as a &ldquo;world of transactions&rdquo; between poet and reader. Our guide through the spaces is a perceptive wit which looks closely at the world and concludes.&rdquo;&nbsp;&nbsp; &nbsp;&mdash;Ian Brinton <em>Tears in the Fence</em></p><p>&nbsp;</p>
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