Sam ‘Sticker Lady’ Lo | FML | 2014-2015 | ink and watercolour on archival paper

MATHEMATICS Editorial: Fiona Hile

Sam ‘Sticker Lady’ Lo’s Tales of the First World

A Poetics of a Politics by Dashiell Moore
FOB: Fresh Off the Books by Winnie Siulolovao Dunn
The Ocean’s Tide: Parentheses in Kamau Brathwaite’s and Nathanial Mackey’s Decolonial Poetics by Simon Eales
Nighthawk, Part 1: Use of Additive Sequences for Generating a Cut-up Poem by Warren Burt

Three Translated Samuel Trigueros Espino Poems by Peter Boyle

‘I have never understood a single poem’: Chi Tran Interviews Mei-mei Berssenbrugge
‘A Fable for Now’: Kate Fagan Interviews Lyn Hejinian
‘through worlds & worlds & worlds’: Joan Fleming Interviews Jordie Albiston

Rachel Ang covers ‘Selkie’ by Izzy Roberts-Orr
Soolagna Majumdar covers ‘Reclaimed Land’ by Pooja Nansi

Innocent Eyes!: Ekphrasis and the Defiant Multiplicity of the Female Gaze by Angela Serrano, with Keira Hudson, Saaro Umar, Ellen van Neerven and Alison Whittaker
from Numbers by Rachel Blau DuPlessis
Queer Modes: New Australian Poetry by Alison Coppe, with Adolfo Aranjuez, Virginia Barratt, Cee Devlin, Romy Durrant, Quinn Eades, Annabell Evitts, Natalie Harkin, Molly Lukin, Rosslyn Prosser, Ainslie Templeton and Ellen van Neerven

Signs from Asemia: Yasmin Heisler Reviews asemic 15, edited by Tim Gaze
Owen Bullock Reviews A Transpacific Poetics, edited by Lisa Samuels and Sawako Nakayasu

And 60 new poems selected by Fiona Hile:
3 Poems
by Abeir Soukieh
by Nicola Redhouse
A Penelopian Gasket
by Emma Rayward
thought to
by Judy Annear
Venn diagram
by Caroline Williamson
by Kate Lilley
Candelo Speedway
by Duncan Hose
by Corey Wakeling
artichoke seedhead
by Kay Cooke
How I Find My Way
by Caoimhe McKeogh
Turntable Music
by Rose van Son
by Melissa Cannon
by Cynthia Duda
A Hat
by Luke Beesley
Zeno’s Zero
by Tom Hennemann
a moving permanent con
by Marty Hiatt
Ekan the Tiler
by Anthony Lawrence
by Joseph Goosey
is equal too
by Ben Hession
After the Earthquake
by Brian Obiri-Asare
The everywhere anywhere
by Gareth Jenkins
Primal #m74207281
by Roy Voragen
Taking Liberties
by Les Wicks
by Stuart Cooke
Function of a Function
by Nicholas Powell
from Counterelegy
by Engram Wilkinson
by Susie Campbell
7 a.m. refractions
by Ella Skilbeck-Porter
by Daniel Swain
6 equal pieces
by Helga Jermy
Number Poem
by Ron Heard
brideshead reloaded
by Ursula Robinson-Shaw
An old woman remembers
by Ross Jackson
by Darby Hudson
Clotted clouds
by Piet Nieuwland
by Ian Wicks
Three Trees
by Michael Farrell
by Mantz Yorke
13 – 4 Looks to Thyself
by Dennis Garvey
by Matthew Louttit
1 + 1 = 1
by Nicholas Komodore
tabula rasa
by Ronald Wilkins
by Antonia Pont
I Box the Forms
by Devon Balwit
by Danny Gentile
by Patrick Lau
Reclaimed Land
by Pooja Nansi
by Izzy Roberts-Orr


Released: 1 November 2017



Wednesday, November 1st, 2017

MathematicsI was already quite a few years into a creative writing PhD titled ‘Generic Engineering’ and flailing around quite spectacularly in a galaxy of words when an academic friend, perhaps hoping to spare me the indignity of a completed thesis and potential employment, flipped to the middle of the 526-page book he was reading and wordlessly pointed to a single sentence. ‘Due to a predilection whose origin I will leave it up to the reader to determine,’ he read, ‘I will choose the symbol ♀ for this inscription.’

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Pete Hay Reviews Rachael Mead and Amanda Joy

Tuesday, January 16th, 2018

The chapbook is the ideal public presentation of poetry for the times in which we live. It is even more portable than the conventionally slim collection; its humbler production values permit poets to get their work ‘out there’, thereby meeting the democratic criterion of accessibility for both poet and reader, and it is conducive to the rigours of thematic focus that a small body of work encourages. Long may it flourish.

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‘I have never understood a single poem’: Chi Tran Interviews Mei-mei Berssenbrugge

Wednesday, November 1st, 2017

What has come to light from my exchanges with Berssenbrugge is that there is no singular way to understand her work. Perhaps drawing lines around and across differences in understandings poses a bit of a problem (not necessarily one to be solved as such, but to be thought and written through) and only directs us back into a canonical way of thinking, instead of propelling us forward and out.

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‘a serpentine | Gesture’: The Synthetic Reconstruction of Ashbery’s Poetic Voice

Tuesday, August 1st, 2017

JAIn 1966 John Ashbery published Rivers and Mountains. The departure from the fractures of The Tennis Court Oath (1962) are immediately apparent: it is a return to a language still distinctly marked by Ashbery’s usual probing and misdirection, but without the direct dislocations committed to denotative meaning, form and syntax in the earlier book.

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Submission to Cordite 86: NO THEME VII

Friday, December 8th, 2017

No Theme VIThis project is supported by the City of Melbourne 2018 Annual Arts Grants Program.

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