- FREE: 20 Poets anthology
- 88: TRANSQUEER with Q Eades and S Barnes (submit now!) 87: DIFFICULTwith O Schwartz and H Isemonger(coming soon!) 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: Charmaine Papertalk-Green’s and John Kinsella’s False Claims of Colonial Thieves
- Review Short: Andy Jackson’s Music Our Bodies Can’t Hold
- Review Short: Rachael Mead’s The Flaw in the Pattern and Philip Nielsen’s Wildlife of Berlin
- Johanna Featherstone Reviews History and the Poet
- Submission to Cordite 88: TRANSQUEER
- Review Short: Shastra Deo’s The Agonist
- Review Short: Tracy Ryan’s The Water Bearer
- Review Short: Bulky News Press Chapbooks from Andrew Pascoe, Chris Brown and Marty Hiatt
- Review Short: Susan Hawthorn’s Dark Matters
- 12 Works by Sue Kneebone
- Introduction to NO THEME VII
- Bone Shame: Grief, Te Ao Māori and the Liminal Space where Translation Fails
- Re-imagining Place: A Psychogeographic Reading of Carmine Frascarelli’s Sydney Road Poems
- ‘Geelong checks its modernist warranty’
- John Ashbery’s Humane Abstractions
- Shattered Writing: Four Translated Valerie Mejer Caso Poems from Edinburgh Notebook
- Four Translated Laia Llobera i Serra Poems
- ‘We mirror what we see’: Holly Childs Interviews Cristine Brache
- President Donald J Trump at the Western Wall, Jerusalem 2017
- Diary Poem: Uses of Dreams
- Neutral Bay, New South Wales
- OK GOOGLE
- drawn, made.
- My Mothers, the avian …
- My Dream of Gary Snyder
Image courtesy of Lionel Fogarty For Martinican poet and theorist Édouard Glissant, forced poetics exists ‘where a need for expression confronts an inability to achieve expression.’1 Glissant further clarifies this when he argues that ‘a forced poetics is created from …
In his essay on Charles Olson, ‘Open Field Poetics and the Politics of Movement’, David Herd bridges the geopolitical gulf between Hannah Arendt’s conception of ‘statelessness’ and Giorgio Agamben’s ongoing inquiry into the state of exception, biopolitics and nationhood. Herd contends that:
… [f]or complex and evolving reasons, the modern political state has become, by the early part of the Twentieth Century, synonymous with the idea of nation. The consequence of this was that citizenship came to be identified with national affiliation. Simply put, to fall outside of one national jurisdiction was to fall outside of all jurisdictions.
‘While he waited for the school bus’ is just one example of the extraordinary work that defines Nora Gould’s new book. Steadfastly observant, carefully detailed and with the capacity to twin trauma and beauty, Gould’s debut collection represents some of …
Italo Calvino argued that writing was a combinatorial exercise and that, for him, reading represented ‘a way of exercising the potentialities contained in the system of signs’. I would like to keep this declarative at the forefront of our investigation into the work of Terrance Houle, neither with a confirmative bias not leaning towards negating the statement of Calvino, but thinking through his statement in our analysis of a few of Houle’s images.
Yet once more, in commodity crops, again in aster yellows, with merits in stacked resistance, I scramble for feed coverage and demand the forward position. It is important to reduce shattering before late crop reports filter in. Bitter constraint is …
In 1966 Prynne emphasised the necessity for poetry to ‘emphatically reclaim the power of knowledge for each and any of us in our common answerability as the creatures of language.’[1. Keston Sutherland, “Hilarious Absolute Daybreak,” Glossator: Theory and Practice of the Commentary, 2 (2010): 115-148, 117.] The ekphrastic, proprioceptive and dedicatory analysis that Prynne demanded of his readers through Kitchen Poems and The White Stone reaches a point of crescendo with Brass in 1971.
Queensland Poetry Festival is thrilled to welcome award-winning Canadian poet Shane Rhodes as the 2013 Arts Queensland Poet in Residence. Since the residency program began in 2005, Queenslanders have had the pleasure of hosting an international poet for three months each year, bringing their ideas and creative energy to inform, influence, and engage fellow poets.
“I had the great pleasure of meeting Trish Salah earlier this year through the University of Saskatchewan. Our talk quickly turned to poetry and poetics, and has continued to be a great blessing to me during an isolated academic term. An interview with Salah, I thought, would present an opportunity for the Cordite readership to gain an insight into transgender poetics from an astonishing lyrical poet and talented theorist.”
I initially approached Glen Phillips in the hopes that he would contribute to Cordite Poetry Review’s Children of Malley II edition, whimsically playing off the Malley / Mallee imagery. As Glen’s poetry, criticism and almost entire oeuvre deals with the landscape of Western Australia I thought what better assonant reference could we have for this, our second Malley edition.
This interview was began on a midday walk along the Coventry and Warwick borders in England’s temperate May and was concluded over the course of these past months. My own visit to Warwick was a delight, though suffering from the travails of long distant travel and foreign flu bugs, it was a long awaited and much anticipated trip.
To my delight, and profound confusion, one morning there was a message in my inbox from Peter Larkin. Peter contacted me after reading my poem ‘a continuous plain’, which was published in Cordite’s Pastoral issue, edited by Stuart Cooke, and which quotes a line of his: ‘true scarcity of no trespass.’
Erasure Traces: Collected Works Volume 2 by John Watson
Puncher & Wattmann, 2008
Erasure Traces is an experimental work, in terms of linguistic innovation, textual depth and in the application of theoretical constructs to the formulation of poetry. I feel that there is a great amount of depth to the work which may be overlooked at a preliminary read and so I undertake this review to underscore the possibilities and potentialities that I see as dominant substrates in Watson's work. The book opens with Erasure Traces, from 2006, and continues on with At the Onset of Turbulence, 1989 and Frieze: A Landscape Poem with Footnotes, from 2001.