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- 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
- Introduction to Louise Crisp’s Yuiquimbiang
- Review Short: Ken Bolton’s Species of Spaces
- David Gilbey Reviews Adam Aitken and Elizabeth Allen
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- 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
XIII Poems might be seen as a snapshot of what Albiston’s main concerns have been since Botany Bay Document (1996) appeared culminating with, I think, Vertigo (2007). Her publications since the mid-2000s reflect on similar concerns but with more biographical tones. Albiston’s main interests have been history, limitations or framed lives, their voices and interpretations of them, often using easily located words to tie groups of poems (‘heart,’ ‘black,’ and ‘white’ feature in XIII Poems).
In the Southern Highlands I think I’ve made a friend on the ground. She tells me the baby inside her has not moved. Her husband doesn’t know how not to smile anymore. The baby is dead but she does not …
Kate Lilley’s second collection, Ladylike, is a tightly constructed and complex work on love and language. Reminding me of Welsh poet Gwyneth Lewis’ wry, poignant words concerned with Welsh language, use of English and meaning-frauds, Kate Lilley enlivens her readers to assumptions, contradictions and the various erections of judging behaviour that surround the definition of a woman today or in any recent age.
from Skulváði Úlfr: Legends Skulváði challenges Fossiker in ‘the simple game’1 to win a compass sought after by Sultans They faced the cups. They sowed. They winnowed. Four cards moved. They tilled. Amulets danced. Hunter drew. The Wolf dodged. Less …
Image: A series of frames require me to shade some of the evenly-distributed sets-of-3, black or blank. How I apply notions of form (actual space) and appearance (virtual space) to my experience in the world is very much like my …
So the story goes: Glámis, the bride was a sad one when he was found by the tide veiled seaspray, dead urchins daughter of ambition, queen of blood sickened by the dark fate of her deepest love Sickened with herself. …
So the story goes: Glámis, the bride
width=150 class=”alignleft” vspace=5 hspace=5 />Revolving Days: Selected Poems by David Malouf
University of Queensland Press, 2008
In the very appropriately titled Revolving Days, David Malouf has put together a selection of poems that addresses the past, place and its importance to self-definition, the memory of houses emptied of family and objects yet full of what's left behind and filling up the present. The poems exhibit a quality which, with political comments more subtle than Les Murray's and longings less romanticised than Robert Adamson's, declares that the places where the emotions taken from another world rendezvous are always present and clear in comprehending the discrepancy between place-and-mind and feeling-and-emotion.
It is not uncommon to accept dinner invitations here. An evening with a Chinese ambassador, a Chef and a Snake Charmer is unexpected. The dates are closely timed. Each man wants me for himself. A tour bus arrives to cheer …
Parts of Speech by Angela Gardner
University of Queensland Press, 2007
Angela Gardner's Parts of Speech shows what a substantial first book of poetry is all about. Gardner has responded, above all, to an ideal opportunity to show what excites her thoughts and propels her into action as a poet. Her ability to turn that initial energy into a form of words both excites and challenges the reader. In this regard, Gardner seems urged to speak about what small actions may be worth pursuing to maintain or re-create a natural and preferred order of events.
blue grass by Peter Minter
Salt Publishing, 2006
Sweeping the Light Back into the Mirror by Nathan Shepherdson
University of Queensland Press, 2006
Peter Minter's latest book blue grass and Nathan Shepherdson's début collection Sweeping the Light Back into the Mirror work with extraordinary images to convey the demands made on memory for accuracy in its language. Both poets set out, deliberately, to interrogate such a language and its subsets naming, recognition, and the calculation and politics of categories. For while as writers and readers, we have limitations on the material claims we can make to increase emotional satisfaction in our lives, we have an unlimited capacity to request answers from what appears to be immaterial the memory of words spoken by both loved ones in absentia and barely remembered friends. We not only demand these words, but also try to challenge their immateriality with concrete language.
Museum of space by Peter Boyle
University of Queensland Press, 2004
Peter Boyle strikes me as a poet who likes the air, much as Peter Minter likes water; Robert Adamson, leaves; Jordie Albiston, defined/confined spaces; John Tranter, lines or, rather, the lineage of the cursive. Boyle most reminds me of Robert Adamson with his gentle, probing style, his yearning approach to all that should be desirablean understanding of ourselves in space and time, wherein we point all our limitations. In this context, Boyle holds his place very well as a watchful observer of the world (e.g. the wind, sunlight, birds, music, reflections, waves) and other writers (e.g. Rilke, Saint-John Perse, Jabès).