Ruffling the feathers of KeepCup scholarship

Against ‘neo-peasantry’ and the desire for self-sufficiency, an article recently written in Overland, misses three crucial points: Neopeasantry concerns community-sufficiency, an abiding connection to ancestry, and modelling carbon positive futures. These three things have been crudely disappeared by Rachel Goldlust in this polemical writing parading as scholarship. 

Here is the reply we posted on the Overland site:

Hi Rachel, we are that family from Daylesford you mention. We would have been open to being interviewed, even a visit, it’s a pity you only refer to a new.com.au article as your main reference to us. 

In this writing you attempt to disappear our ancestors. Of course, ‘neo’ locates our ‘fessed up privilege in choosing to be peasant-like, but ‘peasant’ is our heritage, our families, our pre-industrial past prior to the enclosures and the ‘primitive accumulation’ of our ancestral lands.  

There is both an everyday intimacy and lived-politic that we’re advancing by championing this term. Our politic goes like this: If people can again have access to land they can produce alternative, land-conscious economies. They can decouple themselves from the giant wrecking ball global economy and potentially live a carbon-positive lifeway. We are modelling this politic every day. 

We don’t deny we’re on Dja Dja Wurrung country, we live that reality. We also don’t deny our own indigenous-peasant past and we draw on it to transition from what we call hypertechnocivility.  

Ultimately, we are neopeasants who apply permacultural principles to our home and community economies to further become accountable mammals of place, and this constitutes our practice of art, our culture making and our corporeal forms of feminism. 

Your article strikes us as another act of urbane violence directed at an imagined and clearly poorly understood target. We question your scholarship.

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Step by Step

My permaculture poem Step by Step was yesterday awarded joint runner-up in the 2011 Overland Judith Wright Poetry Prize. Today I recorded the poem with some guitar accompaniment.



Overland will publish the poem in the next issue. Here's what judge Peter Minter very generously said about the work:

I think it’s probably fair to say that reading Jones’ ‘slow-text mesostic’ poems (cf John Cage) is a bit like extruding the brain through barbed wire mesh. But, as the saying goes the grass is always greener on the other side, so it’s a worthwhile endeavour in the end. Jones makes an explicit attack upon the romantic self-consciousness of white Australian literary culture and its oblivious transportation of European aesthetic modes into antipodean landscapes. ‘Step by step’ is not about ‘emotion recollected in tranquillity’. Its typographical interferences and static slowdown, hook and strain the reading process, such that emotion, reflection and cognition are caught and inflected in the present-time of reading. Jones forces us to grapple with a specific set of poethical considerations: how does language-use contribute to the violence of colonisation and machineries and economies of ecological destruction? What kinds of vernacular interventions might inhibit such violence? Can poetry save the world? Jones’ poetry isn’t for everyone, but the world he is saving is the same one you’re living in. 

Congratulations Joel Ephraim who's poem Rock Candy won the prize, and Sam Langer's Clouds fall like snow on the sky’s clear rocks who shares runner up with me. Also congrats to commended poets Rebecca Kylie Law, Alana Kelsall, Ella O’Keefe, Astrid Lorange, Fiona Hile, Stephen Nichols, Andrew Slattery, Banjo James, Molly Murn and Aden Rolfe.

Read Peter's full report here.

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