Abstract
This paper explores influences on and motifs within the creative practice of Australian poet Nathan Shepherdson, the author of ten books of poetry including, most recently, how to spear sleep (2021), parallel equators (2023), axolotl waltz (2024) and soft meteorites (2024). Shepherdson’s poetry has been described as “a dynamic and singular voice” (Maier, 2024), “enigmatic … where the idea, the axiom, the paradox is paramount,” (Lea, 2010, p. 35) and “like stepping into a painting by René Magritte … challenging to fathom … strange yet intimate, poignant yet playful” (Green, 2025). While Shepherdson’s individual and collaborative output is significant, to my knowledge there have been no scholarly articles written about his poetic practice. In this paper, I consider Shepherdson’s collaborative nature – his relationship with other artists, creative practitioners, historical oeuvres and artforms – as well as his vital relationship with his father, well-known Australian painter Gordon Shepherdson (1934–2019). I also discuss the motifs that influence his poetry, many of them cross-pollinating. In particular, I interrogate how existential themes and Dadaist and Surrealist philosophy influences his poetry. These include how he uses chance and how corporeality, body and mirror imagery feature in his work, as well as his innovative use of punctuation. This research aims to close an imperative gap in the literature, recognising Shepherdson’s status as an increasingly significant voice in Australian poetry.