- 100: BROWNFACESUBMIT NOW with W S Dunn 99: SINGAPORECOMING SOON with A Pang and J Ip 97 & 98: PROPAGANDAwith M Breeze and S groth 96: NO THEME IXwith M Gill and J Thayil 95: EARTHwith M Takolander 94: BAYTwith Z Hashem Beck 93: PEACHwith L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith C Gaskin 91: MONSTERwith N Curnow 90: AFRICAN DIASPORAwith S Umar 89: DOMESTICwith 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 F Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith V Lucien 80: NO THEME VIwith J Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith K Glastonbury 56: EXPLODE with D 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 P Brown 52.0: TOIL with C Jenkins 51.1: UMAMI with L Davies and Lifted Brow 51.0: TRANSTASMAN with B Cassidy 50.0: NO THEME IV with J Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with T Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with C Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with M Farrell 46.0: NO THEME III with F Plunkett 45.0: SILENCE with J Owen 44.0: GONDWANALAND with D Motion 43.1: PUMPKIN with K MacCarter 43.0: MASQUE with A Vickery 42.0: NO THEME II with G Ryan 41.1: RATBAGGERY with D Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with K MacCarter 40.0: INTERLOCUTOR with L Hart 39.1: GIBBERBIRD with S Gory 39.0: JACKPOT! with S Wagan Watson 38.0: SYDNEY with A Lorange 37.1: NEBRASKA with S Whalen 37.0: NO THEME! with A Wearne 36.0: ELECTRONICA with J Jones
The most recent work by Diane Fahey, November Journal, and Carmen Leigh Keates’ first collection, Meteorites, represent two offerings of quiet intensity controlled and mediated by distinct voices and their respective energies.
Kristen Lang’s SkinNotes articulates an intense poetry and poetics of the body through a holistic series of lifelines in which skin, bone and organs are not so much dissected as regarded, reassembled and given human or other animate agency.
Ken Bolton’s most recent collection expresses an intense sociability, co-mingling personal and communal memory to create poetry that draws on moments of apparent ordinariness, and ever so subtly transforms them into lines of understated enchantment.
Aden Rolfe’s False Nostalgia presents a collection of memories and corresponding vagaries of forgetting, which stimulate and unsettle in unpredictable and oblique turns of thought and phrase. His work includes philosophical, lyrical and confessional voices, the overall discourse serving to recreate and recover highly original self-objects in time and space.
From the cover, let alone the first lines, the title appears apt: a sense of levitation, humming along wires, strands of illumination flickering through a work of direct and intimate voices, understated in its deftness and density, with light touches that lift the lexis, and air pockets in its seams of meaning. Spread out across the pages are samples of complete, if not absolute contemporaneity interspersed with work that decries the shortcomings of an age in which culture is so often presented as a commodity. Pam Brown’s latest collection showcases self-objects and articulates responses to salient concerns, providing masterful representations of the everyday and outré that take their time to settle into the spaces and absences within which they are framed.
In his third collection, The Ladder, Simon West presents a series of poems with the tensile strength of filigree and flower stems, split seconds where meaning occurs as a wavelet suspended above the mosaic particles that make up a beach. After my first reading, I feel sure that I have also felt sunlight glancing off the skin of a grape, tendrils curling around a wooden table leg, sunlight, wine and citrus. Meanwhile from back at the frontispiece, falls the delicate adumbration of half distinct colour from the ‘eyes turned to beautiful eyes’.
Half a decade on from appearance of the elongated shadow figure that adumbrated Les Murray’s last collection, Taller When Prone, the poet returns with stature intact and a magisterial resounding of strata and reach.
Brush, the latest collection of poetry from Joanne Burns consists of layers juxtaposed in a profuse and generous abundance, styles not fused so much as flipped over and filed into an album as much as an anthology. What may appear to be random sections and selections on closer inspection consist of a gathering that implies a duty of care, assembling shared cultural and oneiric artefacts stripped of extraneous affects and putting on record that which is weird and wonderful and way out there.