- FREE: 20 Poets anthology
- 88: TRANSQUEER with Q Eades and S Barnes (submit now!) 87: DIFFICULTwith O Schwartz and H Isemonger(coming soon!) 86: NO THEME VIIwith L Gorton 85: PHILIPPINESwith Mookie L and S Lua 84: SUBURBIAwith L Brown and N O'Reilly 83: MATHEMATICSwith Fiona Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith Vladimir Lucien 80: NO THEME VIwith Judith Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith Keri Glastonbury 56: EXPLODE with Dan Disney 55.1: DALIT / INDIGENOUSwith M Chakraborty and K MacCarter 55: FUTURE MACHINES with Bella Li 54: NO THEME V with F Wright and O Sakr 53.0: THE END with Pam Brown 52.0: TOIL with Carol Jenkins 51.1: UMAMI with Luke Davies and Lifted Brow 51.0: TRANSTASMAN with Bonny Cassidy 50.0: NO THEME IV with John Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with Tracy Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with Corey Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with Michael Farrell 46.0: NO THEME III with Felicity Plunkett 45.0: SILENCE with Jan Owen 44.0: GONDWANALAND with Derek Motion 43.1: PUMPKIN with Kent MacCarter 43.0: MASQUE with Ann Vickery 42.0: NO THEME II with Gig Ryan 41.1: RATBAGGERY with Duncan Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with Kent MacCarter 40.0: INTERLOCUTOR with Libby Hart 39.1: GIBBERBIRD with Sarah Gory 39.0: JACKPOT! with Sam Wagan Watson 38.0: SYDNEY with Astrid Lorange 37.1: NEBRASKA with Sean Whalen 37.0: NO THEME! with Alan Wearne 36.0: ELECTRONICA with Jill Jones
- Review Short: Charmaine Papertalk-Green’s and John Kinsella’s False Claims of Colonial Thieves
- Review Short: Andy Jackson’s Music Our Bodies Can’t Hold
- Review Short: Rachael Mead’s The Flaw in the Pattern and Philip Nielsen’s Wildlife of Berlin
- Johanna Featherstone Reviews History and the Poet
- Submission to Cordite 88: TRANSQUEER
- Review Short: Shastra Deo’s The Agonist
- Review Short: Tracy Ryan’s The Water Bearer
- Review Short: Bulky News Press Chapbooks from Andrew Pascoe, Chris Brown and Marty Hiatt
- Review Short: Susan Hawthorn’s Dark Matters
- 12 Works by Sue Kneebone
- Introduction to NO THEME VII
- Bone Shame: Grief, Te Ao Māori and the Liminal Space where Translation Fails
- Re-imagining Place: A Psychogeographic Reading of Carmine Frascarelli’s Sydney Road Poems
- ‘Geelong checks its modernist warranty’
- John Ashbery’s Humane Abstractions
- Shattered Writing: Four Translated Valerie Mejer Caso Poems from Edinburgh Notebook
- Four Translated Laia Llobera i Serra Poems
- ‘We mirror what we see’: Holly Childs Interviews Cristine Brache
- President Donald J Trump at the Western Wall, Jerusalem 2017
- Diary Poem: Uses of Dreams
- Neutral Bay, New South Wales
- OK GOOGLE
- drawn, made.
- My Mothers, the avian …
- My Dream of Gary Snyder
In Awake at the Wheel, Berndt Sellheim’s debut collection of poems, Australia is imagined in gothic terms, from the eerie and persistent presence of the ‘bushland’s dark parchment’ to the bones and ghosts which haunt an endless landscape. An homage to country, there is little innocence embedded in these poems of insides and outsides, which speak not only to a transforming sense of self but also to an environment that ceaselessly, and often uneasily, shifts.
In ‘Sky Burial’, a poem about ‘the secrets inside / that we shamefully hide’, Seminara offers a provocation: ‘So listen / why don’t we share them? / Cut our guts open / and air them?’ It is an invitation to confession, but the visceral imagery is also a confrontation, an insistence on exposure which characterises much of Engraft, Seminara’s debut collection of poetry.
In ‘Balancing,’ Rose Lucas describes how Philippe Petit, the French high-wire artist made famous by his walk between the Twin Towers of the World Trade Center, ‘launched into a fitful middle space.’ With a ‘steady grip of muscle,’ Petit is imaged as a ‘machine riding air and sky,’ defying gravity as he dances ‘from element to element.’
In the untitled preface to Everyday Epic, Kerdijk Nicholson describes how ‘the poet grinds down / a sum of parts / to atoms’. The result is a world in which the most quotidian of instances and images are made ‘alchemically new’, an echo of Ezra Pound’s credo to repeat, but with difference. These lines also suggest that the process of grinding down is at once violent and erotic, displacing and magical, disturbing and strangely familiar.
These lines, suffused with an abiding sense of melancholy (perhaps unsurprising given Jones’s advancing years), encapsulate the contemplations of the poet throughout the collection: the possibilities of language, the significance of the quotidian and the inescapable experience of loss. Along with Chris Wallace-Crabbe, Jones is one of the few remaining Melbourne University poets and writers from the 1950s and 1960s. This circle comprised poets such as Dinny O’Hearn and Vincent Buckley and focused on a more academic style of poetry.
In its own words, Zenobia Frost’s Salt and Bone slinks ‘between ibis-legged houses / and wakeful graveyard’, and belongs to ‘the hour of the curlew’, a liminal space that speaks of ghosts and transformation. As a collection, the poems are pervaded with a sense of haunting, plagued by abject bodies ‘aching for salt and bone’, the suffocating presence of water, and the archeology of death. It is noteworthy that Frost’s work both begins and ends with a warning of the power of unknown and strange things; a reminder, perhaps, of the gaps that exist between the ‘real’ and the imagined.
While Lucy Williams’s Internal Weather is split into the unavoidable cycle of life – birth, childhood, and death – the collection as a whole is a love song, a tribute to ‘difficult events’ and ‘unattended shadows’. The poems emphasise how the ‘forming of words’ and the ‘making of stories’ locates these instances in specific moments of memory and time. Indeed, love is the lung-set of Internal Weather: love for a child, first love, romantic love, love lost, love for the dead, love that ‘surprises … like religion’ and thickens ‘doubt into determination’.
It has a full set of teeth and shouts her name, demanding conversation after months of entrapment in that dark wet space—it wants words, not food. And it is not forced out of her but pulls itself free, tiny fingers …