- FREE: 20 Poets anthology
- 92: NO THEME VIIISUBMIT to C Gaskin 91: MONSTERwith N Curnow, coming soon! 90: AFRO AUSTRALIANwith 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 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
- Aidan Coleman Reviews New and Selected Poems of Anna Wickham
- Ivy Ireland Reviews Ali Whitelock’s and my heart crumples like a coke can
- Editorial to AFRO AUSTRALIAN
- 4 Works by Guled Abdulwasi
- The Platonic Split
- you have no idea how far i swam
- To the still
- Garden of Grace
- Bloody QnA
- The Physics of Self
- Life Poem
- go ahead, call it magic
- Chalk to Charcoal
- (un) learning
- 3 Sisters
- Blood Fuel
- Raelee Lancaster Reviews Alison Whittaker’s Blakwork
- Alex Creece Reviews Marion May Campbell’s third body
- Ivy Ireland Reviews Steve Armstrong
- Magan Magan Reviews deciBels 3
- Claire Albrecht Reviews Manisha Anjali’s Sugar Kane Woman
- Review Short: Simeon Kronenberg’s Distance
In case you haven’t noticed, there’s a surge in material on gender and sexuality being produced by a profusion of switched-on contemporary thinkers.
In mid-August I was in Adelaide to read poetry with Kent MacCarter and others as a guest of Ken Bolton’s ‘Lee Marvin Readings’ series at the Australian Experimental Art Foundation. Over a couple of days, Kent, Ken and I had some expansive conversations including one about how much we loved various works by Michel Butor, the great French experimental writer. Just over a week later we heard the sad news that Michel Butor had died on 24 August, 2016 at the age of 89.
In the winter of Pokémon Go, I read quite a few new books of poetry. The collection Poems of Hiromi Itō, Toshiko Hirata & Takako Arai was the most cogent. These three Japanese poets are taboo-breaking women who write without reservation about ‘female experience’ in the political context of contemporary transnational capitalism.
I think I was thinking of a big concept like ‘The End Times’ when I made up a theme for poems for this issue of Cordite Poetry Review. There is general consensus that the times we’re living in are endtimes.
Poetry for Cordite 53: THE END is guest-edited by Pam Brown. Read Corey Wakeling’s interview of Pam from 2012. Let me start at the very end, the dead end, the living end, at wit’s end, the end of the line. …
Cover design by Zoë Sadokierski
The works that Ross Gibson has written and edited over the past thirty years could be classed as political aesthetics. In books like Seven Versions of an Australian Badland, chronicling the wretched historical miscreants of Queensland’s Brigalow country, or 26 Views of the Starburst World: William Dawes at Sydney Cove 1788–1791, speculatively tracing English astronomer William Dawes’s scientific work and his relationship with the Indigenous Eora people of Sydney Harbour in a few late years of the eighteenth century, Ross Gibson’s method is procedural. Seven Versions and 26 Views form a compositional design that he has described as ‘fractal’, allowing unfixed multiple views and patterns. The author’s practice of creative fragmentation, applied to the poems and short prose pieces in this new collection, eschews linearity and dull chronology.
What does the street know? both of its centuries have disappeared this was a manufacturing warehouse now a fitness gym a cafe an imported fancy european bike outlet this was a corner shop the police never come here to this …
Coming back to their neck of the woods, a shout was as good as a wolf and a basket as full as a boot full of tarnished medallions and useless keys, pugnacious as costume on a moonlit patio, swilling prosecco …
The mask on the cover of ‘Beyond the Ohlala Mountains’ suggests that there’ll be some odd theatrics inside the book. It’s a plain papier-mâché mask of a slightly jowly head with a bulbous nose and a pair of puckered, pouting, full red lips. What does it express – is it a superior sneer? Is it bourgeois disdain? Is it about to say ‘oh là là’? The mask was made by Sally Rodwell, the now-deceased partner of the New Zealand poet collected here, Alan Brunton. It was made for a theatre work called Cabaret of the Unlikely that was performed three years after Brunton had died at 55, in 2002.
close to mononia espinacas con garbanzos, a rich pepper. orders have been scrawled in chalk to form a form, yes, it is El Rinconcillo, the oldest tapas dishes, and 30.03 kilometres from Mononia, plates designed to be shared. so I …
Short on shimmy they took to the disco with a resounding whomp of white & solid silver waves of wire; a platform to berate from, a wag the dog diorama; wearing only your shadow & shouting to the stomping throng …