- FREE: 20 Poets anthology
- 85: UNPRINTABLEwith J R Carpenter and Benjamin Laird (coming soon!) 84: SUBURBIAwith Lachlan Brown and Nathanael O'Reilly(submit away!) 83: MATHEMATICSwith Fiona Hile 82: LANDwith James Stuart and Jane 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 Fiona Wright and Omar 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 Matthew Hall and Sophie Seita 49.0: OBSOLETE with Tracy Ryan 48.1: CANADA with Kent MacCarter and Shane Rhodes 48.0: CONSTRAINT with Corey Wakeling 47.0: COLLABORATION with Louis Armand and Helen 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 Josephine Rowe and Michael 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
- Submission to Cordite 86: NO THEME VII
- The 2018 Event Horizon of Micro Press Poetry Publishing in Australia
- David Dick Reviews Emily Crocker, Allison Gallagher and Aisyah Shah Idil
- Ivy Ireland Reviews Petra White and Magdalena Ball
- Prithvi Varatharajan Reviews Arvind Krishna Mehrotra
- Phillip Hall Reviews Quinn Eades and Gabrielle Everall
- Alex Kostas Reviews Dina Amantides, Anna Couani, Zeny Giles, George Vassilacopoulos, Erma Vassiliou and Dimitris Troaditis
- sun square on stomach
- MATHEMATICS Editorial
- Nighthawk, Part 1: Use of Additive Sequences for Generating a Cut-up Poem
- FOB: Fresh Off the Books
- The Ocean’s Tide: Parentheses in Kamau Brathwaite’s and Nathaniel Mackey’s Decolonial Poetics
- A Poetics of a Politics
- Three Translated Samuel Trigueros Espino Poems
- Sticker Lady’s Tales of the First World
- ‘I have never understood a single poem’: Chi Tran Interviews Mei-mei Berssenbrugge
- ‘A Fable for Now’: Kate Fagan Interviews Lyn Hejinian
- ‘through worlds & worlds & worlds’: Joan Fleming interviews Jordie Albiston
- Innocent Eyes!: Ekphrasis and the Defiant Multiplicity of the Female Gaze
- from Numbers
- Queer Modes: New Australian Poetry
- How to Make Whips
- mMouth hHouse pPanic cCathedral
- in this community
- Garden Musings
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 …