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Kefala’s jubilation comes from her recognition that she might be able to forge a way of living in this new place that resonates with the landscape and culture of her past. Sydney is both new and old, simultaneously evocative and original.
The passage shows the profound interconnection between the outer world and Kefala’s inner self, something that is characteristic of her writing. It also demonstrates her awareness of the necessity of community and a milieu. Inevitably perhaps, those initial hopes met with some disappointments, but her three volumes of memoir – Summer Visit (2003), Sydney Journals (2008) and Late Journals (2022) – provide a record of her daily constitution of this community, and of a creative life.
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Kefala’s first language is Romanian, her second language is French, her third is Greek. Finally, there is English – her fourth language and the language of her literature. As she writes:
I feel you have to live in a language to be able to write in it and […] I couldn’t write in Romanian or Greek or French because they were languages that I had somehow passed through. English was the language I was actually living in – imperfectly.
But, as she continues:
My approach to English is not quite an English approach. The kind of imagery that I use, the kind of vocabulary that I use, the whole texture of my language is not an English texture.
The result is a new, revived, original English, as in this short example from her poem Nameless:
You are the resonancein the fanatic colourof the skyintoxicating lightthat fans over the seaa heavy cloth of shimmeringwhite gems on the horizon
Excesses of a terrorthat can never be appeased.
As her publisher Ivor Indyk has observed, Kefala’s voice is distinctive, characterised by a minimalism that is “evident in the short lines, which throw emphasis on syllables that are barely audible in English”.
This “accented English” is integral to the energy and intensity of her poetry. It revivifies English and its poetic capacities.
Patrick White Award recipient Antigone Kefala and her publisher Ivor Indyk.
Giramondo Publishing
Some early readers of Kefala’s work struggled with these features, though she has always had her champions. The Patrick White Award recognises her brilliance. In their citation, the judges observed:
Kefala is a deliberately spare writer, practising an aesthetics of asceticism that is crucial to the power of her work across all forms. Her poetic minimalism belies the meticulous construction of echoes and patterns in her poetry, while the notable formal compression of both her prose and poetry distils intense experiences and perceptions.
Kefala has been contributing to Australian literature for 50 years, publishing many volumes of poetry, fiction and memoir. She has also been a strong supporter of community arts and has contributed to the promotion of a diverse Australian literature. In 2018, my colleague Brigitta Olubas and I held a conference on Kefala’s work, which led to the publication of Antigone Kefala: New Australian Modernities. In our introduction, we argued
Antigone Kefala is one of the most significant of the Australian writers who have come from elsewhere; it would be difficult to overstate the significance of her life and work in the culture of this nation.
Official recognition of Kafala’s enormous significance is not premature, but it is warmly welcome.
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Authors: Elizabeth McMahon, Professor of English literary studies, UNSW Sydney