Lara Chamas | East / West | 2016

SUBURBIA Editorial: Lachlan Brown and Nathanael O’Reilly

12 Works by Lara Chamas
4 Machines by Robert Andrew

Ken Bolton’s Suburbia, an Introduction by … Ken Bolton
‘a homemade world’: On the Dandenong Line by Laurie Duggan
Ghost Flowers in the Word Machine: Poetry, Pessimism and Translation in the Age of Technology by Alice Whitmore
No Safety, No Submission? A Survey of New Zealand Small Presses by Joan Fleming
Wright Vociferous – ‘Birds’ and ‘Skins’ – Physiognomy, Identity and the Wild Spoken Word by Meredith Wattison
But Why Am I Telling You this? You Are Not Even Here: Against Defining the Suburb by Alex Griffin

Two Translated Kim Yideum Poems by Ji Yoon Lee
Four Translated Geng Xiang Poems by Ouyang Yu
Five Translated Eileen Chong Poems by Isabelle Li

‘Refusing to be published, refusing even to perish’: Amelia Dale Interviews Ouyang Yu
Sandra D’Urso Interviews Fiona Hile
‘Myth is not merely decorative’: Prithvi Varatharajan Interviews Michelle Cahill

ten atmospheres by Alexander Selenitsch
The Orbweaver’s Newer Volcanics by Marita May Dyson and Stuart Flanagan

And 60 new poems selected by Lachlan Brown and Nathanael O'Reilly:
In a Tranquil Period
by Mindy Gill
The Lodger
by Simon Armitage
The Birthday Party
by Lyndal Walker
Henley Park Canto
by Paul Scully
Crescent Road
by Ella Jeffery
different / same
by Christopher Andrews
by Joshua Cram
Insect Wisdom
by Shady Cosgrove
Posing Cards
by David McCooey
Sunburnt Jukebox
by Liam Ferney
by Kerri Shying
Window Record
by Ashish Xiangyi Kumar
curb cut cartography
by Robin M Eames
Old Friend
by Lyn McCredden
like we’re scared
by A A Kostas
by Kevin Hart
by Kate Middleton
by Daryl Lim Wei Jie
Suburbia: Jurong East
by Alvin Pang
Double Acrostic
by Stuart Barnes
Father’s Phobia
by Alene Terzian
Johnno and the Seagulls
by Andy Kissane
TEXT TOWN traversals i-iv
by Christopher Brown
View of the New Estates
by Brendan Ryan
Boxing On
by Bruce Dawe
Chadstone Sonnet
by Philip Thiel
Scales, Enclaves
by Ramon Loyola
Year Zero
by Davide Angelo
P1 Licence
by Maris Depers
by A D Harper
Suburban Fantasy
by Michele Seminara
by Carl Boon
Household Ripening
by Tess Pearson
by Scott-Patrick Mitchell
Banksia Integrifolia
by Anne Elvey
by Shane Strange
by Ouyang Yu
Suburban Deer
by Amanda Anastasi
Heading Out
by Ainsley Allen
by Mike Ladd
by Margaret Owen Ruckert
by Isi Unikowski
Somewhere in the Suburbs
by Christine Howe
The Summer that Fires Raged
by Kristian Patruno
Icon and Iconoclasm
by Jennifer Maiden
Car Park Crows
by Jeff Guess
Plath Close
by Simon Hall
The Sound of Spitting
by Jake Goetz
Wembley Food Court
by Robert Wood
Traffic Calming
by Bernard Cohen
Hills Hoist Poems
by Andrew Burke
by Matt Hetherington
by Harriet McInerney
The End of Men
by Belinda Rule
Dressing for Paradise
by Natalie Rose Dyer


Released: 1 Feburary 2018


SUBURBIA Editorial

Thursday, February 1st, 2018

Suburbia‘There is an assumption that real art only comes from the city,’ writes Winnie Siulolovao Dunn in her 2017 essay, ‘FOB: Fresh off the Books’. Dunn is writing about the stigma of hailing from both Mt Druitt and Tonga. For the young Dunn, the ethnically diverse Western Suburbs of Sydney seem far removed from any cultural centre.

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Review Short: Ken Bolton’s Lonnie’s Lament: Towards a History of the Vanishing Present

Wednesday, February 21st, 2018

Ken Bolton’s most recent collection expresses an intense sociability, co-mingling personal and communal memory to create poetry that draws on moments of apparent ordinariness, and ever so subtly transforms them into lines of understated enchantment.

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‘Refusing to be published, refusing even to perish’: Amelia Dale Interviews Ouyang Yu

Thursday, February 1st, 2018

Ouyang Yu, now based between Melbourne and Shanghai, came to Australia in mid-April 1991 and, by early 2018, has published 96 books of poetry, fiction, non-fiction, literary translation and literary criticism in English and Chinese. He also edits Australia’s only Chinese literary journal, Otherland.

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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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, and
Introduction to Helen Lambert’s Echoland

Monday, February 5th, 2018

Helen Lambert’s work is as new to me as it will be to others – she has been operating away from Australian poetry for some time, with long periods in Ireland and, lately, Russia. One approaches a new poet warily. Yet the inventive and capable intelligence behind the poems here is immediately apparent. It is wonderful to be able to drop one’s guard, to forget it – and to enter a wonderful world.

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