Poetry Editorial: Derek Motion
Essays: Destroy Kansas to Reveal Oz: from John Ashbery to Francis Webb by John Hawke, Planting Roots: A Survey of Introductions to Ecopoetry and Ecocriticism by Caitlin Maling and Place, Palimpsest and the Present Day: Gondwana in Caroline Caddy’s Antarctica by Rosalind McFarlane
Artworks: Four Cutups from MBC by Maxine Beneba Clarke and Pussy and Politics: Five Lithograph Posters by Favianna Rodriguez
Translations: The Earth of Kashgar (translated excerpts of a long poem) by Ouyang Yu, Six Poems by Ардак НУРГАЗЫ in English, Chinese and Kazakh by Ouyang Yu, Four Melancholic Songs by Rubén Darío by Stuart Cooke and Paul-Henri Campbell presents three contemporary German poets: Ulrike Draesner, Nora Gomringer and Lydia Daher
Scholarly: The Ethics of Attention in Peter Larkin’s ‘Leaves of Field’ by Sophie Seita
Ekphrastic: Mortal:Drift by Niobe Syme and Fiona White
New Review: Timothy Yu Reviews Contemporary Asian Australian Poets
Blog: The Breadth of Vast Time by Pete Hay
Chapbooks:
Story Circle: The Transnational Story Hub and the Inspiraciones Literarias curated by Merlinda Bobis (featuring Patrick McGowan, Donna Waters, Tara Goedjen, William Alister Young, Elisa Parry and Matilda Grogan)
Proteaceae curated by Peter Minter (featuring Michelle Cahill, Bonny Cassidy, Louise Crisp, Stuart Cooke, Jim Everett, Ali Cobby Eckermann, Natalie Harkin and Martin Harrison)
Audio: Ursonate (Kurt Schwitters fragment) by Anna Fern
As I write this review, sunlight filtered through a pall of smoke casts a dull orange glow over my kitchen bench. The Blue Mountains are burning. Sydney’s haze resembles downtown Beijing’s and it’s only October. Such an apocalyptic scene – part of the ‘Australian experience’ I am assured by our Prime Minister – provides context for the world into which Outcrop and its ‘radical poetry of land’ emerges. This is not to suggest that the anthology’s outlook is primarily environmental, but that alternative ways of examining land are sorely needed.
Also gut, nun dies: Vor einigen Jahren war ein Teil meines Hirns voll mit kargem, sprunghaftem MAX/MSP, dronenartigem Zeug. Es ist immer noch so. Auf der ständigen Suche (immerfort mehr! Alles, immer!) nach AGF-Kompositionen (ein Pseudonym der Künstlerin Antje-Greie Fuchs … Recherche lohnt sich). Ich fand live Sets, die sie online gestellt hatte. In einer davon kam eine deutsche Dichterin vor, die auf der Bühne ihre Stimme über den AGFs Malstrom aus Mikro Klicks, Brüchen und Rauschen hinweg lesend, rezitierend, beschwörend live klingen ließ.
