- 84: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 83: MATHEMATICSwith Fiona Hile (submit away!) 82: LANDwith James Stuart and Jane Gibian(coming soon!) 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
- Review Short: Tusiata Avia’s The New Adventures of Nafanua, Samoan Goddess of War
- Review Short: Michelle Cahill’s The Herring Lass
- Review Short: Susan Fealy’s Flute of Milk
- Review Short: Brook Emery’s Have Been and Are
- NEW CARIBBEAN Editorial
- Deconstructing Decolonisation: Victor Questel’s Collected Poems
- She’ll Chew You Up: Notes on Safiya Sinclair’s Cannibal and Tiphanie Yanique’s Wife
- Selections from ‘The Face: a feeling’: 8 Portraits by Kwesi Abbensetts
- Delicious Pick
- How to Exhale
- Tony’s Taxi Service
- After Olive Senior, ‘Flying’
- Messages to Bush Children – Building
- Stormy Night
- Beyond the River Road
- Crystal Chandeliers
- Exorcism / Freeport
- College Degree in Tourism and Service
- Under the Tamarind
- Norene’s Laugh
- “We the Dirt”
- Finishing Your Work
- The Day He Got It
- Poem for a Gunman
Image by Tim Grey Presented by Cordite Publishing Inc. and Australian Poetry, and hosted by poet Toby Fitch, this workshop at the 2016 Emerging Writers’ Festival will open your eyes to the potential of the poem on the page. By …
Australian poet Sarah Holland-Batt, b. 1982 in Queensland, grew up in Australia and America and also writes fiction and criticism. She was a Fulbright Scholar at New York University where she attained an M.F.A, and is currently a Senior Lecturer …
Analogue Bodies is a collection of essays by Tom Lee, materialised as set of illustrated books by Zoë Sadokierski. The project looks at different parts of, and events within, the human body and historical ways of depicting and making sense of them. It aims to humour and, on its day, to educate. It was presented as part of the recent Emerging Writers’ Festival 2014 at the Wheeler Centre.
Image of and by Nicholas Walton-Healey Land Before Lines is a book from Melbourne-based photographer and writer Nicholas Walton-Healey. The 144-page, full-colour volume (the images appear in black and white here for page recall considerations) features portraits of 68 Victorian …
Melbourne-based Benjamin Laird writes computer programs and electronic poetry, which he discusses here in the first of a new, occasional blog series looking at the writing practice of contemporary Australian poets.
‘This machine surrounds hatred and forces it to surrender’ were the words inscribed on the banjo of American folk legend and activist Pete Seeger, who died at 94 in late January 2014. Reading the tributes to Seeger, I was struck by a recurrent theme: his moral courage, which he lived out unrelentingly across a lifetime. Commenting on the ‘not common behaviours’ which made his life exemplary, a New Yorker post by biographer Alec Wilkinson wrote of ‘his insistence on his right to entertain his own conscience’.
I’m sitting in the Rare Books room of the State Library of Victoria, lost in time and strangely joyous as I encounter one of its new acquisitions, the late 2012 ‘artist’s book’ and collaboration between poet Robert Adamson and well-known …
Among the most extreme, in the sense of horrific, writing places for poems bequeathed to us would be the conditions in which Ezra Pound produced The Pisan Cantos. There is some speculation as to the exact number of those Cantos …
Since it began 23 years ago, the Internacional de Poesía de Medellín has grown to become a major poetry festival in the world, in a country riven by 50 years of civil war. This year’s Festival (6-13 July) coincided with a new round of peace talks in Havana between the Colombian Government and FARC, and FARC rebels reportedly fighting security forces in the mountains. The Festival featured Australian poet Les Wicks, who reports on his experience below. The Festival has also ‘grown’ up alongside seismic changes for the city of Medellín, Colombian’s second-largest and once described as the ‘most violent city in the world’ (Time, 1988), due to its brutal cocaine drug-cartel culture.
So much has happened to poetry since Sylvia Plath completed her last poems fifty years ago in 1963 that it might seem weird or regressively sentimental to focus back on them. But, encouraged to do so by a number of anniversary events around the globe this year, what strikes is the endurance of these final poems’ brutal clarity.
Studying the Sylvia Plath archival papers at Smith College in 1993, poet, editor and critic Felicity Plunkett intuited that a number of pages were missing from one poem draft. Plath assiduously page-marked drafts of the poems that were to become the Ariel poems. Plunkett was unable to uncover these pages in any of the archives made available to her, which were still in the process of being organised. One night, in dream, she ‘receives’ a phone call, made from a black, period-piece telephone, words delivered in Plath’s idiosyncratic trans-Atlantic diction – ‘look in the yellow folder’.
Three lines from The Seventh section of Finola Moorhead’s A Handwritten Modern Classic, first published in 1977 and re-issued March 2013 by Spinifex Press, close out a varied discussion by the author on the political nature of death, that Socrates’ death ‘was political’ (as underlined in the handwritten original), that Socrates was not a writer and that writers ‘need teachers like Socrates’. In the same section she argues that artists often use ‘Another’s pain … for the success of expression’. ‘Art as comfort’, Moorhead follows on, ‘ — strange concept. / Such assumptions aren’t questioned often enough.’