Poetry Editorial: Jan Owen

Essays: Silénzio / Scienza: Registering 5 in Joan Retallack’s Errata 5uite by Andrew Carruthers, A Writing Surface of One’s Own by Meredith Wattison and Reasons for Silence by Adam Rivett

Artworks: Celestial Measures in Ferrotype by Fiona Annis

Concrete Sequence: APPEAL IN AIR by Philip Davenport

Translations: Nguyễn Tiên Hoàng translates Gig Ryan into Vietnamese and Phan Nhien Hao into English

Scholarly: Black Stone Poetry: Vanuatu’s Grace Mera Molisa by Selina Tusitala Marsh

New Reviews: Nicholas Birns Reviews Contemporary Russian Poetry: An Anthology, Andrew Fuhrmann Reviews Bruce Dawe’s Plays in Verse: Kevin Almighty and Blind Spots, and Nicholas Jose Reviews Speaking the Earth’s Languages: A Theory for Australian-Chilean Postcolonial Poetics

New Pumpkins: Kirrily Schell adapts ‘The Spider in the Kitchen’ by Andrew Sant and Pat Grant adapts ‘Vibrations’ by Fiona Wright

And a sequence of 47 new poems selected by Jan Owen:
Diary Poem: Uses of Silence
by Jennifer Maiden
Earplugs
by Marvin Bell
from: Zoo Birds
by Diane Fahey
Morphine
by Robert Minhinnick
lip
by Joanne Burns
Silence: An Anatomy
by Alex Skovron
Listening for Charlie
by Barry Wallenstein
Travelogue through Time
by Shari Kocher
The Navel of the World
by Shari Kocher
The Snow
by Michael Farrell
New Glass
by Sue Wicks
Writing: Silence ::
by Paul Kane
Hafiz: Ghazal 75
by Paul Kane
Silence
by Todd Swift
Nell
by Todd Swift
The Pool
by Debbie Lim
The Torpey Spoon
by Vanessa Page
Alone in the Woods
by Hannah Mettner
Inside Quietness (Söderlund)
by Mran-Maree Laing
trees are about you
by Shevaun Cooley
A Silence
by Geoff Page
Essentially Human
by Bev Braune
Eurydice Speaks
by Caitlin Maling
Swan Song
by Lynne Potts
Nagasaki Rain
by John Upton
A Cup of Tea
by Paul South
Finishing
by David Hathwell
Pain Management 1 & 2
by Lesley Carnus
Reaching
by Heather Taylor Johnson
Termites in Spring
by Kyle Kohinga
The Art of Fugue
by Helen Parsons
Offshore
by Barnaby Smith
Sinking into Silence
by Lorraine Caputo
for Sherman
by Steve Halle
Carte Blanche
by Tom Sullivan
Homo Suburbiensis
by Tom Sullivan
Penal Colony No.14.
by Gary Allen
Slick
by Paul Summers
 
 

CORDITE POETRY REVIEW
ISSUE 45.0: SILENCE

Released: 1 February 2014


ESSAYS


SILENCE Editorial

Saturday, February 1st, 2014

Silence seems a paradoxical and perhaps daunting theme for writers, yet it strikes me as tantalizingly hospitable too. It was pleasing that 494 writers took up the challenge, submitting some 1100 poems; my warm thanks to you all. This high volume meant that a number of fine poems had to be regretfully declined. A common element in those I finally selected was assurance and presence, the sense of a person thinking through the poem – and of the poem thinking through the person. Precision, energy, surprise and an unlikely angle were other touchstones. Feeling, too, of course; silence, actual or metaphoric, can certainly be neutral, but more often it affects us either negatively or positively: as nothingness, dread, loss, denial and oppression, or else as affirmation, safety, intuitive understanding, intimacy, transcendence, and so on. For me, as for many of those submitting, the theme summons up death – the lost voices – but also a sense of mysterious imminence and immanence.

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REVIEWS

Review Short: Beyond the Ohlala Mountains: Alan Brunton, Poems 1968-2002

Wednesday, April 9th, 2014

Beyond the Ohlala MountainsThe mask on the cover of ‘Beyond the Ohlala Mountains’ suggests that there’ll be some odd theatrics inside the book. It’s a plain papier-mâché mask of a slightly jowly head with a bulbous nose and a pair of puckered, pouting, full red lips. What does it express – is it a superior sneer? Is it bourgeois disdain? Is it about to say ‘oh là là’? The mask was made by Sally Rodwell, the now-deceased partner of the New Zealand poet collected here, Alan Brunton. It was made for a theatre work called Cabaret of the Unlikely that was performed three years after Brunton had died at 55, in 2002.

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INTERVIEWS

Klick: Im Gespräch mit Ann Cotten

Sunday, September 1st, 2013

Ann CottenAlso gut, nun dies: Vor einigen Jahren war ein Teil meines Hirns voll mit kargem, sprunghaftem MAX/MSP, dronenartigem Zeug. Es ist immer noch so. Auf der ständigen Suche (immerfort mehr! Alles, immer!) nach AGF-Kompositionen (ein Pseudonym der Künstlerin Antje-Greie Fuchs … Recherche lohnt sich). Ich fand live Sets, die sie online gestellt hatte. In einer davon kam eine deutsche Dichterin vor, die auf der Bühne ihre Stimme über den AGFs Malstrom aus Mikro Klicks, Brüchen und Rauschen hinweg lesend, rezitierend, beschwörend live klingen ließ.

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SCHOLARLY


Black Stone Poetry: Vanuatu’s Grace Mera Molisa

Saturday, February 1st, 2014

Black stone is both a figurative and literal reference to the (vanua) of Vanuatu, specifically, its black solidified lava base. Like many Pacific Islands, Vanuatu is founded on dormant and live volcanoes that impact upon the daily reality of its inhabitants. This essay examines the poetry of Grace Mera Molisa and how black stone is deployed as a key metaphor in her work as both poet and politician. Like black stone, Molisa has been a foundational creative and critical force in the formation of Vanuatu as a postcolonial nation, one based on an indelible Ni-Vanuatu spirit.

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GUNCOTTON BLOG


Trans-Tasman: Book Reviews and Best New Zealand Poetry 2013

Wednesday, April 9th, 2014

It’s 2014. Time to expand / add to the Trans-Tasman conversation on poetics between Australia and New Zealand. The Best New Zealand Poems 2013 has now been published. Online only. Check it out. Congratulation to Murray Edmond, Anne Kennedy and …

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