- 84: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 81: LANDwith James Stuart and Jane Gibian (submit away!) 80: NO THEME VIwith Judith Beveridge (closed) 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
- Liam Ferney Reviews Cassie Lewis
- Alice Allan Reviews Watching the World: Impressions of Canberra
- Introduction to Tanya Thaweeskulchai’s A Salivating Monstrous Plant
- Michael Aiken Reviews Dave Drayton
- Owen Bullock Reviews Alan Loney
- Review Short: Holly Isemonger’s Deluxe Paperweight and Jessica Cham’s premium pastoral poetry
- Review Short: Anthony Lawrence’s Headwaters
- EKPHRASTIC Editorial: Poetry that Sees
- J S Harry’s ‘tunnel vision’, Vicious Sydney and The Car Story
- Ekphrasis as ‘Event’: Poets Paint Words and the ‘Performance’ of Ekphrasis in Australia
- ‘Often Said Apologetically’: Merryn Sommerville’s Child of the High Seas
- Tunnel Vision
- Interview with Sidney Nolan (Ella O’Keefe edit)
- Is Contemporary Australian Poetry Contemporary Australian Poetry?
- An Extra Oyster for the Doctors
- John Woodcock Graves the younger [with] Truganini
- APOLLON MUSAGÈTE
- after infatuation—ross bleckner—oil on linen
- Gouache, Sheep Skulls, Fence Bracket
- Anatomy for the Blind
- The Pioneer
- Interior with Figures
- Miro’s Eyes
- Autumnal Cannibalism
- Narrenschiffen, a Collage Sonnet
Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether birdsong, traffic or an r&b song playing in the background.
Image courtesy of Australian Poetry Library Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether birdsong, traffic or an …
this torch requires an evaluation flash of soft politician gums hatless creampuff wearing sunglasses to the inquiry pecuniary metric conversions of a scout hall footage choose 4 nights on the celebrity solstice where a tasteful program of classic dramas will …
John Forbes | by Juno Gemes Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether birdsong, traffic or an …
wonderful figment of cotton & boots I think of you when the shape shifts it could be a woman or a dog next to the man on the grass for an unreasonable duration it is a doubled creature, girlhound made …
two women in the room thinking different things at the same time she takes the pen from her friends’ grasp installs a brush well what do I do with that? all of Minneapolis outside the door will have to wait …
Cordite is chuffed to announce that Ella O’Keefe will be our inaugural Audio Producer, and lends a stack of audio production knowledge to the journal. We’re already beavering away on detail for our first 20-30 minute program.
In Paperweight, her third full-length collection, Claire Gaskin shows her talent for observing fluctuations in the state of things – personal, political and environmental. Within this, she does not turn from the darker corners of the human psyche. ‘Just do the best you can’ opens with a frank acknowledgement of mortality: ‘your death keeps growing/or your life keeps contracting’.
The poems in Luke Beesley’s Balance, like Siobhan Hodge’s work in Picking Up The Pieces, tend towards brevity (with a few exceptions). In Hodge’s case we might consider this quality in relation to fragments, where the body and the reader’s attention is cut-up. Reading Beesley, the encounter is one that is instead cut-off – that is to say that this is poetry attuned to the momentary and to the sensing body moving through the world.
Picking Up the Pieces is a compact debut of eight poems from West Australian poet Siobhan Hodge. Its publisher, Wide Range Chapbooks, is a Cambridge based small press run by John Kinsella. Wide Range publishes poets such as Redell Olson, Rob Mengham and Drew Milne mixed in alongside young and emerging local poets, many of them students like Hodge (who in 2012 undertook a research residency in Cambridge). The collegial spirit of Wide Range and the relatively modest production values – Hodge’s book comes stapled in a photocopied card cover – suggests a publishing model that favours immediacy and ease of circulation, in a town where poetry and thinking are a constant activity.
take your platform boots off Kevin you’ve killed a deer to make your point but our tea and biscuit sensibilities will cope we forgive you you’re charming! hiding from your vanity likening molten glass to tartiflette in the fresh peat …
light-up hip scabbard goosegrass woven jumpsuit syrup blackstrap a dram of honey your moves enact their etymology _sweet lips Q: I just want to know like the basics and specifics on it dancefloor is a swamp or creamcake ligule & …