Lara Chamas | East / West | 2016
SUBURBIA Editorial: Lachlan Brown and Nathanael O’Reilly
Artwork:
12 Works by Lara Chamas
4 Machines by Robert Andrew
Essays:
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
Translations:
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
Interviews:
‘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
Chapbooks:
ten atmospheres by Alexander Selenitsch
The Orbweaver’s Newer Volcanics by Marita May Dyson and Stuart Flanagan
To enter the mind of Philippine literature in English, it is important to note the evolution of English in the Philippines. We were colonised by Spain in 1521 and sold to America in 1898. According to eminent Filipino poet and scholar, Gémino Abad, Philippine poetry in English only took flight in the 1920s – it is a considerably young poetry, being less than a hundred years old.
Alison Croggon has worked across many forms in her career, and connections to several are represented in these pages – the nine-part poem ‘Specula’, for example, comes from a larger work of the same title which also involves an essay and a radio play.
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.
In 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.
Cordite is chuffed (once again) to announce that, joining Rosalind McFarlane, Amelia Dale and Joan Fleming as commissioning editors, Prithvi Varatharajan is joining the Cordite Poetry Review fold as commissioning editor for media poetry.
