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Poetry Editorial: John Tranter

Fuori le mura: Seven Vicki Viidikas Poems by Gig Ryan
‘Can I Do My Words?’: On the Poetics of Deafness by Jessica White

Artworks: Six Film Photographs from Isa Lausas

Interview with Dorothy Hewett ( O’Keefe remix) by Hazel de Berg *podcast
Interview with Brett Whiteley (O’Keefe remix) by Hazel de Berg *podcast
Bonny Cassidy Interviews Sophie Collins
Johns Forbes & Tranter: Reading and Discussion at Forbes Street Studios *podcast

Film: SPSS by Ian Gibbins

Scholarly: Exploring and Renegotiating Transparency in Poetry Translation by Siobhan Hodge

Alvin Pang translates Dragon’s Egg by Nori Nakagami
Claire Nashar translates Une fois nés by Erin Moure and Two Poems by Victor Hugo
Four Poems from Kim Hyesoon’s ‘Autobiography of Death’ by Don Mee Choi
George Vulturescu: What Vision Cannot Stand by Adam Sorkin and Olimpia Iacob
Farewell Sweet Ladybird: A Manifesto and Three Chronicles by Pedro Lemebel (1952–2015) by Israel Holas and Sergio Holas

Blog: Beyond Words: The Obscured Language of Graffiti by Charity Bramwell

New Reviews:
Nathanael O’Reilly reviews Angela Costi and Dimitris Tsaloumas
A J Carruthers reviews Holly Childs

And a sequence of 50 new poems selected by John Tranter:
White Sauce
by Cameron Lowe
by Lisa Gorton
Separate Hearings
by John Ashbery
Civil Wrong
by Kate Lilley
by Rae Armantrout
Observable Phenomena
by Chloe Wilson
Cabin Near Stirling
by Anders Villani
by Fiona Hile
Days and Distance
by Peter Rose
by Graham Akhurst
Mr. B’s Women
by Jessica Wilkinson
Shared Piazza
by Ella O'Keefe
by S K Kelen
Awakening Slave
by Gig Ryan
by Toby Fitch
87 Words for John Ashbery at 87
by Charles Bernstein
My Friend’s Mum
by Louise Carter
Handsome House
by Alexandra Schnabel
Mothers & Daughters
by Billy Marshall Stoneking
End of Year
by Ken Bolton
The End of Weather
by Aidan Coleman
The Swing of Things
by Dean Brink
Lingo Surprise
by Corey Wakeling
The Pelican
by Sarah Holland-Batt
George and the Holy Holiday
by Jennifer Maiden
On Waking with the Pain
by Belinda Rule
They Always Come
by Vicki Viidikas
by Julie Chevalier
by Matthew Jenkins
Reading Chekhov
by Antonia Pont
by Joel Scott
At Evening, Canberra
by Josephine Clarke
The Film Student’s Shoes
by Meredith Wattison
Imaginary Cinema
by Miro Bilbrough
The Flood
by Mihaela Cristescu
Domestic Fauna
by Graeme Miles
The Ten Thousand Things
by Helen Parsons
by Bruce Dodson
After Auden
by Stu Hatton
The Skinny on the Stiff
by Samuel Prince
by Mark O'Flynn
F in the Mirror
by Ella O'Keefe
by Jessica White
(mis)remembering Marnie
by Simeon Kronenberg
Sydney Road #1
by Carmine Frascarelli
by Claire Nashar
by Ian Gibbins
The Rettig Dossier
by Sergio Holas-Véliz, Israel Holas Allimant and Pedro Lemebel
For My Sadness: Blue Violet
by Sergio Holas-Véliz, Israel Holas Allimant and Pedro Lemebel
Manifesto (I Speak For My Difference)
by Sergio Holas-Véliz, Israel Holas Allimant and Pedro Lemebel
A Kind of Synopsis
by Sergio Holas-Véliz, Israel Holas Allimant and Pedro Lemebel


Released: 1 May 2015


NO THEME IV Editorial

Friday, May 1st, 2015

John Tranter, Sydney, 2009, photo by Anders Hallengren. Sometimes people become irritated when I am once again asked to compile another collection of poems. Why him? they ask. Why him again? Well, there’s a reason. I am good at it. …

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Oliver Shaw Reviews Michael Aiken

Wednesday, July 1st, 2015

Reading Michael Aiken’s A Vicious Example is like walking out of the pub and wandering city streets at 4 am, half-drunk and in sub-conscious wonder. The strangeness of it all: What year is it again? Where are we? Aiken’s collection is fragmented, forming thought-voices into obscure imagery that settles and unsettles on the mind. Aiken’s voice is lethargic, hopeless. There is only one narrative to this text that I can find, which from the beginning locates us and the poems in the Australian city. In the opening poem Aiken welcomes us to ‘come and see …’ what the rest of the country looks like after colonisation’s ‘Theft by Discovery’.

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Interview with Dorothy Hewett (O’Keefe remix)

Friday, May 1st, 2015

Dorothy Hewett | Ali Burns | The Hoopla | 2015 Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether …

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Exploring and Renegotiating Transparency in Poetry Translation

Friday, May 1st, 2015

To read poetry in translation, no matter how ‘close’ the rendering is to the original text, is to necessarily involve another figure in the reading and interpreting process. Readers of translations are not only receiving the work of the original …

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The Sydney Launch of Harkin, Gibson, Loney and Hawke

Sunday, June 28th, 2015

OBJECT: Australian Design Centre, Thursday 25 June, 2015 I’m pleased to say that I was at the launch of the very first issue of Cordite Poetry Review, way back in 1997. Good heavens, is that eighteen years ago? The journal …

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