A. J. Carruthers is a poet, critic, author of Stave Sightings: Notational Experiments in North American Long Poems (2017), and three volumes of the long poem AXIS: AXIS Book 1 (2014), AXIS Book 2 (2019) and AXIS Z Book 3 (2023). Carruthers has worked in China, as Associate Professor in the English Department, Nanjing University, and is currently a Visiting Fellow at the Australian National University.

• List of FiguresAcknowledgmentsPrologue DedicationPART I: Chronometries (Antiquity, 1897–1947)Tzara’s Chronometer: Literary History and the Antipodal Avant-Gardes1897 in 1981: Stéphane Mallarmé avec Christopher Brennan3. New Order of the Line: W. C. Williams, Ern Malley, Harry Hooton and the 1940s Avant-GardesPART II: Aftershocks (1947–Vanishing Present)The Dada Chronicles: Jas H. Duke and Barry HumphriesExpansive Geometries: Ania Walwicz’s PolishLionel Fogarty’s Historical StyleTraitorous Text: Amanda Stewart Off and On the PageA Wáng Gă: an EpilogueIndex

An audacious and truly transnational remapping of Antipodean avant-gardes that musters the usual suspects only to change that history by introducing new players who had long been hiding in plain sight. By centering artists such as Ania Walwicz, Jas Duke, Lionel Fogarty and others such as Ouyang Yu, Carruthers conducts Antipodean poetics as a synaesthetic symphony that generates new cross-hemispheric collaborations and collusions.

A. J. Carruthers is a poet, critic, author of Stave Sightings: Notational Experiments in North American Long Poems (2017), and three volumes of the long poem AXIS: AXIS Book 1 (2014), AXIS Book 2 (2019) and AXIS Z Book 3 (2023). Carruthers has worked in China, as Associate Professor in the English Department, Nanjing University, and is currently a Visiting Fellow at the Australian National University.

• List of FiguresAcknowledgmentsPrologue DedicationPART I: Chronometries (Antiquity, 1897–1947)Tzara’s Chronometer: Literary History and the Antipodal Avant-Gardes1897 in 1981: Stéphane Mallarmé avec Christopher Brennan3. New Order of the Line: W. C. Williams, Ern Malley, Harry Hooton and the 1940s Avant-GardesPART II: Aftershocks (1947–Vanishing Present)The Dada Chronicles: Jas H. Duke and Barry HumphriesExpansive Geometries: Ania Walwicz’s PolishLionel Fogarty’s Historical StyleTraitorous Text: Amanda Stewart Off and On the PageA Wáng Gă: an EpilogueIndex

An audacious and truly transnational remapping of Antipodean avant-gardes that musters the usual suspects only to change that history by introducing new players who had long been hiding in plain sight. By centering artists such as Ania Walwicz, Jas Duke, Lionel Fogarty and others such as Ouyang Yu, Carruthers conducts Antipodean poetics as a synaesthetic symphony that generates new cross-hemispheric collaborations and collusions.

A. J. Carruthers is a poet, critic, author of Stave Sightings: Notational Experiments in North American Long Poems (2017), and three volumes of the long poem AXIS: AXIS Book 1 (2014), AXIS Book 2 (2019) and AXIS Z Book 3 (2023). Carruthers has worked in China, as Associate Professor in the English Department, Nanjing University, and is currently a Visiting Fellow at the Australian National University.

• List of FiguresAcknowledgmentsPrologue DedicationPART I: Chronometries (Antiquity, 1897–1947)Tzara’s Chronometer: Literary History and the Antipodal Avant-Gardes1897 in 1981: Stéphane Mallarmé avec Christopher Brennan3. New Order of the Line: W. C. Williams, Ern Malley, Harry Hooton and the 1940s Avant-GardesPART II: Aftershocks (1947–Vanishing Present)The Dada Chronicles: Jas H. Duke and Barry HumphriesExpansive Geometries: Ania Walwicz’s PolishLionel Fogarty’s Historical StyleTraitorous Text: Amanda Stewart Off and On the PageA Wáng Gă: an EpilogueIndex

An audacious and truly transnational remapping of Antipodean avant-gardes that musters the usual suspects only to change that history by introducing new players who had long been hiding in plain sight. By centering artists such as Ania Walwicz, Jas Duke, Lionel Fogarty and others such as Ouyang Yu, Carruthers conducts Antipodean poetics as a synaesthetic symphony that generates new cross-hemispheric collaborations and collusions.