This chapter discusses the songlines of First Nations people as living song emerging from the land and vehicle of cultural knowledge. It then analyses engagements with an international avant-garde in the twentieth century, through the transnational performances of Amanda Stewart and Chris Mann, Jas H. Duke’s Dada-inspired sound poems, Javant Biarujia’s created language, and the performance poetry of Ania Walwicz and Ouyang Yu. The chapter also investigates visual poetry in Australia, including the techniques of cryptographic symbols and icons, comic strip narratives, and collage. Using the sonnet poems of Alex Selenitsch and Cath Vidler as examples, it asserts the value of comparative readings of visual and concrete poetry. The chapter suggests that concrete poetry of the 1970s, hypermedia experiments of the 1980s, and Language art all typically fall outside institutional histories and often unsettle the constitution of a national literature. It distinguishes conceptual poetry from electronic poetry, arguing that the conceptual poem questions the ground of the work while electronic poetry tests new environments and makes poetry through the test.

This chapter explores some of the new developments, trends, and movements that have characterized contemporary American poetry in the period since 2000, a period in which poetry grapples with a tumultuous, rapidly changing culture and continues to become increasingly diverse. The chapter focuses on three of the most important developments: the collapse of the old binary opposition between mainstream and experimental and the emergence of a new hybrid mode; a new openness to remix, sampling, and the use of found language and documentary materials in poetry associated with movements such as Conceptual poetry and Flarf, which can be seen, in part, as a response to the rise of the digital age and new questions about originality and appropriation it has ushered in; and a resurgence of politically engaged, formally adventurous poetry, especially by poets of color, in the era of Obama and Trump. The chapter focuses on representative poets, including Jorie Graham, Dean Young, Kenneth Goldsmith, Tracy K. Smith, Robin Coste Lewis, Claudia Rankine, Ross Gay, Danez Smith, and Terrance Hayes.