Tony Albert | Mid Century Modern-Spear Fishing | 2016 | pigment print on paper | 50 x 50 cm | edition of 2 + 1AP
Image courtesy of the artist and Sullivan+Strumpf.

LAND Editorial: Jane Gibian and James Stuart

12 Pigment Prints on Paper by Tony Albert

Possession, Landscape, the Unheimlich and Lionel Fogarty’s ‘Weather Comes’ by David Brooks
Placeways in the Anthropocene: Phyllis Webb’s Canadian West Coast by Stephen Collis
Un(dis)closed: Reading the Poetry of Emma Lew by Ann Vickery
Architecture, Poetry and Impressions of a Bendigo Chinese Doctor, James Lamsey by Nadia Rhook
World of Feelings: Ghassan Hage, Bruce O’Neill, Magic Steven and the Affective Dimensions of Globalisation by Lucy Van
The Land as Breath: Can Poetic Forms Be Metaphors for Landscapes? by Ben Walter
Concrete: A Shikoku Pilgrimage by J P Quinton

Vorticist Portraiture in Mina Loy’s Anglo-Mongrels and the Rose by Urvi Majumdar
‘a serpentine | Gesture’: The Synthetic Reconstruction of Ashbery’s Poetic Voice by David Dick

Three Translated Takako Arai Poems by Rina Kikuchi and Jen Crawford
Three Translated Nguyễn Man Nhiên Poems by Nguyễn Tiên Hoàng
Four Translated Gerhard Fritsch Poems by Vincent Kling
Petrus Augustus de Génestet’s ‘Peaen to the Netherlands’ by Fiona Graham

Archiving the Present: Ivy Alvarez Interviews Conchitina Cruz
‘The concept of risk is intensely personal’: Jonno Révanche Interviews Hera Lindsay Bird

And 55 new poems selected by Jane Gibian and James Stuart:
Unkempt if You Will
by Angela Gardner
by Shona Hawkes
not one silent lamb
by Alison Whittaker
by Audrey Molloy
genius loci
by Ella Jeffery
Swan Song
by Mitch Tomas Cave
by Janet Jiahui Wu
Ovibos Moschatus
by Elżbieta Wójcik-Leese
On All Souls’ Eve
by Anne Elvey
by Sophie Finlay
by Gavin Yates
by Adam Aitken
Edible design
by Anna Ryan-Punch
Some Portraits of Country
by Michael Giacometti
ngā tuna o opoutukeha
by Carin Smeaton
Apparently Soccer
by Magdalena Ball
The Fall
by Michelle Cahill
Beneath an Ibis
by Gabrielle Rowe
by Omar Sakr
a peregrine falcon
by Claire Albrecht
New Year’s Eve
by Jessica Wraight
by Sally Chik
Market Value
by Matthew Jenkins
by Iain Britton
unstable edge
by Francesca Sasnaitis
Flat Pamphlet Chat
by Nicholas Powell
Fusion (City of Glen Eira)
by Andreas Å Andersson
Pale and Cold
by Ben Walter
The Navigators
by Margaret Bradstock
Endless Summer, 2017
by Lachy McKenzie
Rivers – New Madrid
by Kristie Betts Letter
by Anthony Lawrence
At Cervantes
by Kia Groom
lost art of pastels
by Kevin Gillam
you wrote yourself the poem of it
by Ulrike Almut Sandig and Karen Leeder
Brackish Morning
by Barnaby Smith
Etch A Sketch
by K.A. Rees
Humpback (Pacific)
by Sam Morley
by Rizwan Akhtar
Untitled Poem #2
by Simon Perchik
Unpicking a Bird
by Shey Marque
by Ian Gibbins
by Scott-Patrick Mitchell
slippage (un)fixed
by Bridget Gilmartin
Karma Bin
by James Lucas
The Old Fort at Grennan
by Hugh McMillan
Final Hours, Sputnik 2
by Isabella Mead
Upon a Shot Star
by Adam Stokell
Trompe l’oeil
by David Felix
signs of impression
by Nadia Rhook
Arraignment Song
by Emma Lew
Rattling the Forms
by Emma Lew


Released: 1 August 2017


LAND Editorial

Tuesday, August 1st, 2017

Images courtesy of the editors When we chose to edit an issue of Cordite Poetry Review around the theme of ‘Land’, it was with an interest in the inherent openness of the word. Similarly, we came without a strong affiliation …

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Owen Bullock Reviews A Transpacific Poetics

Tuesday, October 10th, 2017

Lisa Samuels’s introductory essay, ‘What Do We Mean When We Say Transpacific’, begins with a quotation from Pam Brown that is particularly well-chosen for this volume. Brown claims that the ‘authentic’ pertains to someone who isn’t manipulated or being alienated from their context. There’s a good deal in this book about alienation relating to identity and culture; many of the authors have had to fight to preserve authenticity.

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Archiving the Present: Ivy Alvarez Interviews Conchitina Cruz

Tuesday, August 1st, 2017

Conchitina Cruz teaches creative writing and comparative – literature at the University of the Philippines in Diliman. Her book, Dark Hours, won the 2006 National Book Award for Poetry. Cruz is also the winner of two Palanca Awards: one in 1996 for Second Skin, and another in 2001 for The Shortest Distance.

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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
Dale and Fleming on as Commissioning Editors

Saturday, October 14th, 2017

Dale and FlemingCordite is chuffed (once again) to announce that, joining Rosalind McFarlane as Commissioning Editor, Collaborations, Amelia Dale and Joan Fleming are joining the Cordite Poetry Review fold as Commissioning Editor, Experimental Literature and Commissioning Editor, New Zealand Literature respectively.

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