- FREE: 20 Poets anthology
- 90: MONSTERSUBMIT TO N Curnow 89:DOMESTIC COMING SOON with N Harkin 88: TRANSQUEERwith S Barnes and Q Eades 87: DIFFICULTwith O Schwartz & H Isemonger 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: Ken Bolton’s Species of Spaces
- David Gilbey Reviews Adam Aitken and Elizabeth Allen
- 50% OFF BOOKS | FREE POSTAGE | FREE ANTHOLOGY
- Pam Brown Reviews Kait Fenwick
- Kishore Ryan Reviews Paul Croucher
- Submission to Cordite 90: MONSTER
- Introduction to TRANSQUEER
- The Kindness of Strangers: On New Zealand’s Literary Journals
- Three Translated Xhevdet Bajraj Poems
- Four Translated Ángelo Néstore Poems
- ‘There is nothing more shared than language’: Carolyn DeCarlo Interviews Gregory Kan
- ‘Language can multiply itself and form secret and unusual patterns’: Andrew Pascoe Interviews Ania Walwicz
- Owen Bullock Reviews Rachel Blau DuPlessis
- Joan Fleming Reviews Fiona Hile and Luke Beesley
- Winnie Siulolovao Dunn Reviews Tayi Tibble
- Holding Pattern
- It Is Happening Again
- 14 Works by Ms Saffaa
- Silence (Maria the first)
- don’t look down
- Dear Mr. president
- The Doctors Say
- Looking for Hot GAM
- THERE ARE ONLY 16 GENDERS
(Q.E.D.) To speculate on compound vision, the world reprizes: one and one is one. Each arc of a lover’s conjecture creatures toward incendiary light. The soul’s algebra draws upon an angle of landscape at once perishable and precise. We sup …
As with contemporaries like Claire Gaskin (Paperweight) and Kate Lilley (Versary, particularly ‘Mint in Box: A Pantoum Set’), Emma Lew has turned to fixed poetic forms like the pantoum and the villanelle. Constraint is both formally enacted and thematically explored.
for Dann & bindlestiff cyberpunk I am telling a story without prehistory. Pocket rockets of pink, the go to temple of gum blossom. Rays of morning sun settling on the driver’s side. By way of warning, I would say I …
This suburb is getting crowded. Trying to Pokémon Go with a Baudelaire avatar and running into the usual night terrors. Replaced footpaths, replaced neighbours, discovering how to accessorise with greys. Can we have a plebiscite vote over the return of …
The melancholia of not being Anne Boyer. The melancholia of melancholy, of listening for factories out there in the sea when everyone else was searching for whales. The melancholia of a word without a poem, of the poem as pristine …
Cover design by Zoë Sadokierski In Lake, Claire Nashar navigates the connections between people and between person and place in a striking elegy not only for her grandmother, leading geology academic Beryl Nashar, but also for Tuggerah Lake, an estuary …
Colony collapse disorder describes a phenomenon whereby worker bees suddenly and inexplicably disappear from a hive. It has recently been identified as a syndrome following the rapid vanishing of Western honeybee colonies across North America and Europe. Justin Clemens also uses the term to describe an aesthetic collapse, whereby poets can only demonstrate their existence as ‘being caught dead’ given the fragile conditions of poetry and the inevitable, deadly effects of the past.
The theme of this issue was suggested by the Poets and Critics seminar (run by Vincent Broqua and Olivier Brossard) on the work of British poet Redell Olsen last year. Olsen’s book Punk Faun: A Bar Rock Pastel (subpress, 2012) revels in masques and anti-masques, in variants and endlessly shifting suggestiveness that has influences back to the sixteenth century but also resonates with Frank O’Hara’s ‘In Memory of My Feelings’.
Forearmed is foredefeated, a spragged illusion that had me forever check the silver-leafed backing. What seemed like a vermillion mirror of sea, the work of rash gods competing over nose-powder and light. Salient image as tonnage of froth, the superficial …
This issue is the Masque. It extends an invite to displays of Devices and Mythic Mayhem. It desires to entertain Bold Interiors of Poetic Fancy and Brocaded Rewindings, Lyricised run-ons and flirtatious Kinks in the Narrative. A toying with Masks and Anti-Masks of identity, gender guises and human conceit.
Style: the Sibyl’s only available expression. Reversible epigrams filched as seasonal must from the fathers. You think assassination a pretext for kindness. Love in the time of your own good collar her bag of ferrets, the hide, not the fathoms. …
Gig Ryan asserts that, ‘Poetry is our response to the world, but it’s also the thing we poets find the most taxing, the best of engaging our brains. Ideally – like all good art – it should make us think.’ Yet, as she also acknowledges, meaning is often secondary when reading poetry. That is, it is intensified and made more complex by the poem’s sensual materiality and the affect it may evoke.