Sue Kneebone | A cautionary tale of overconfidence

NO THEME VII Editorial: Lisa Gorton

Artwork:
12 Works by Sue Kneebone

Essays:
Bone Shame: Grief, Te Ao Māori and the Liminal Space where Translation Fails by Anahera Gildea
Re-imagining Place: A Psychogeographic Reading of Carmine Frascarelli’s Sydney Road Poems by Jake Goetz
‘Geelong checks its modernist warranty’ by Jo Langdon and Cameron Lowe

Scholarly:
John Ashbery’s Humane Abstractions by David Herd

Translations:
Four Translated Laia Llobera i Serra Poems by Amie Weiss
Shattered Writing: Four Translated Valerie Mejer Caso Poems from Edinburgh Notebook by Michelle Gil-Montero

Interviews:
‘We mirror what we see’: Holly Childs Interviews Cristine Brache

And 65 new poems selected by Lisa Gorton:
The Left-handed Self
by Kim Mahood
Royal Park
by Jessica Yu
Insects
by Alison Flett
Re-visiting Chernobyl
by Maria Takolander
Tact
by Judith Bishop
After Chopin
by Claire Potter
The House, Cracking
by Tracy Ryan
Inclined
by Felicity Plunkett
Backscatter
by Andrew Zawacki
Youth
by Cecily Niumeitolu
Apropos
by Jo Langdon
Third Nature.
by Drew Milne
We Ask More
by John Kinsella
Sea Seek
by Sogol Sur
Cicada Song
by Sam Morley
Questions of Travel
by David McCooey
snob
by Joanne Burns
Reflective Insulation
by Chris Wallace-Crabbe
Ismene’s Thirst
by Claire Gaskin
zipper fax
by Kirsten Ihns
Creek Gully Dreaming
by James Stuart
Plague
by Caitlin Maling
The Patience of Affixes
by Lakshmi Gill
Driving to Broken Hill
by Judith Beveridge
The Courage Diet
by Ben Juers
Snow
by Cassandra Atherton
Staying Alive
by Kim Cheng Boey
Stasis at Oxford 130
by Mags Webster
September 27
by Mia Slater
La Petite Mort
by Amy Lauren
from , et c-
by Dan Disney
untitled
by Colleen Woods
Restless
by Jill Jones
Country
by Jasmine Pierce
Echidna
by Mike Ladd
Disconnection
by Kirli Saunders
Drawing Straws
by Marjorie Main
Life in the Permian
by Victor Billot
We make lemons.
by K.A. Rees
To sink into a decade
by Anna Jacobson
Beneath a City
by Ohan Hominis
Krebs Cycle
by Amanda Joy
Tsarskoe Selo
by Donald Mager
Was
by Anton Hur
Joseph Banks Sees Smoke
by Jen Saunders
Cloud Mountain
by Tim Carrier
Mysteries of the South Coast
by Michael Farrell
OzPo(st)
by Liam Ferney
Pilgrim Brother
by Adam Aitken
Bag Man
by Luke Sole
Should go outside more
by Kristian Radford
Invasion Day 2
by Juan Garrido-Salgado
How Mirror Stores Operate
by Glenn McPherson
The Photographs
by Helen Parsons
My Dream of Gary Snyder
by Eric Paul Shaffer
My Mothers, the avian …
by Olanihun Opeyemi Joe
Formant
by Gavin Yates
drawn, made.
by Samantha Abdy
Rain
by Dianne Millett
OK GOOGLE
by Kit Riley
Neutral Bay, New South Wales
by Christopher Snook
Diary Poem: Uses of Dreams
by Jennifer Maiden
 
 

CORDITE POETRY REVIEW
ISSUE 86: NO THEME VII

Released: 1 May 2018


ESSAYS


Introduction to NO THEME VII

Tuesday, May 1st, 2018

No Theme VIFour years ago, writing an essay on David Malouf, I learned that Hawthorn Library held a copy of his first poetry collection, Bicycle and Other Poems (1970). I borrowed it, and, sadly, I returned it, too. Today, I rang the library to find the book.

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REVIEWS

Review Short: Oscar Schwartz’s The Honeymoon Stage

Monday, July 16th, 2018

Confession: I should not have read Michael Farrell’s launch speech for Oscar Schwartz’s The Honeymoon Stage before attempting this short review. I had a large attack of Bloom’s anxiety of influence, but I simply couldn’t help myself because I truly appreciate Farrell’s wit and (worldly) wisdom. And now the damage is done.

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INTERVIEWS

‘We mirror what we see’: Holly Childs Interviews Cristine Brache

Tuesday, May 1st, 2018

Cristine Brache is a Toronto-based poet and artist. Her work explores the nuanced power dynamics inherent in many of our relationships. Brache’s practice incorporates video, sculpture, poetry and a multitude of limited edition objects, prints, t-shirts and publications. She and I met online in 2013, when she was living in Guangzhou, China, and making videos and taking photographs of unexpected and emotional English-language phrases on t-shirts.

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SCHOLARLY


John Ashbery’s Humane Abstractions

Tuesday, May 1st, 2018

JAIn the context of John Ashbery’s long career it is possible to a claim a particular significance for that book. Published in 1970, it was the first volume he wrote after re-settling in the United States in 1965, having lived in Paris for the best part of a decade. It was also the book in which he arrived at a kind of poem – ‘Soonest Mended’ is an example, but so are several others, ‘Evening in the Country’, say, or ‘The Bungalows’ – that established a way of configuring voice, narrative trajectory, human relations and cultural reference that would become recognisable as characteristically Ashberyan.

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GUNCOTTON BLOG

, and
Submission to Cordite 88: TRANSQUEER

Monday, May 21st, 2018

TransqueerTRANSQUEER is a call for you to say something that maybe you haven’t been able to say before. It asks you to find poetry in / between lines, binaries and stultifying categorisations; from the life of flesh, from inside the bleating, many-chambered heart of gender and sexuality.

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