Poetry has been an integral part of my life. As I was growing up, my mother would create humorous rhyming poems for my sister and I. Many of her poems would revolve around our names and integrate the vibrant imagery and characteristics of Australian animals and birds.


For example:

‘Dinky Di’ lived in the sky

She was a Rosella parrot

She talked all day and talked all night

And loved to eat Dad’s carrots.


In my maturing years, I embarked on a song-writing journey, which has helped to develop my lyrical composition and the use of full and part rhymes. I am still a fan of the traditional rhyming structure, but in compiling this portfolio, I experimented with styles that I am not overly familiar with such as: the sonnet, and other ‘open forms’, that defy conventional poetic expectations.  

Although there are some poems in this portfolio that utilize the traditional style of rhyme, there are others that strongly defy this form.

I have also drawn upon the art of the image to create word pictures that aim to draw the reader into my perspective on different parts of life and the seasons and experiences. Poems such as Trafficked aim to highlight social justice issues such as human trafficking.

The Olde Park Bench, Free-Fall, and Trafficked use a combination of isometric, heterometric and quasi-stanzaic stanzas (Strand & Boland 2000, p 136) to that create a visual picture, and movement.  ‘Closure’ uses extreme enjambment to also create a sense of movement and staccato emotions.

In my preparation and creation of this poetry collection, I have come to the understanding, that the many varied “verse forms [on offer] do not define poetic form: they simple express it” (Strand & Boland 2000, p. 3).



Strand, Mark & Boland, Eavan 2000, The Making of a Poem, A Norton Anthology of Poetic Forms, The Stanza, W. W. Norton & Company, New York, London, pp. 136-138.

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