- 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
- Introduction to Elene Gomez’s Body of Work
- Review Short: Oscar Schwartz’s The Honeymoon Stage
- Review Short: Philip Mead’s Zanzibar Light
- Carmine Frascarelli Reviews Nguyễn Tiên Hoàng
- Review Short: Therese Lloyd’s The Facts and Helen Heath’s Are Friends Electric?
- Review Short: Selina Tusitala Marsh’s Tightrope
- 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
St Ignatius of Loyola is supposed to have said: ‘Give me a boy until the age of seven, and I will own the man’. Well, the Baptists had me for a lot longer than my first seven years, and subsequently, I have lived a most conventional life.
In the Garden I cross the threshold of glasshouses seeking succor with bromeliads whose leaves are banded with scales, like blotting paper, to inhale this morning’s fog: outside I meander amongst upright natives: one is shaped like a pine but …
When Judith Wright died in 2000, at the height of Prime Minister John Howard’s cultural hegemony, Veronica Brady was called upon to deliver a eulogy at the public memorial held in Canberra. This eloquent and impassioned speech was reprinted in a national newspaper under the headline, ‘Giant in a Land of Pygmies’.
Maggie Walsh is a Bwcolgamon woman from the First Nations community of Palm Island, a tropical paradise located in the Great Barrier Reef only sixty-four kilometres northwest of Townsville. But this is a paradise with a troubled history since European settlement – with a lack of jobs and housing, and a tragic reputation for violence and disadvantage. In 1999, for example, the Guinness Book of Records named Palm Island as the most violent place on earth outside of a combat zone.
This biography is another powerful testament to the tragedy of difference. Sylvia Martin writes of an idealistic creative pragmatist who was victimised for her gender disphoria and, while loved, never accepted. Aileen Palmer is yet another outspoken and independent woman hounded to the mental hospital and shock treatment.
These three poets, who exist outside university creative writing and humanities faculties, have ‘chosen’ a publisher independent of Australia Council arts funding and have been somewhat neglected by critical attention and awards recognition. All three poets collect richly lyrical and narrative poetry that praises the natural world and interrogates different aspects of our ability to live in it respectfully. All three collections are beautifully presented and feature stunning cover artworks that reveal each poet’s preoccupations and intentions.
The bardibardi call time on mununga slogans of ‘stop the boats’; shaping-up and giggling their Makassan memories of brown bodies coming ashore in a spray of surging sea: for centuries these boat people cultivated tamarind trees in a highlight of …
Suzanne Falkiner describes her aim in writing this biography of Randolph Stow as being ‘to contextualise the [literary] works within the broad arc of Stow’s life’. She notes that Stow’s desire for an ‘authorial invisibility – and an accompanying silence – extended to a desire for a chameleon-like camouflage in his personal life’. This camouflage included a retreat from Australia and ‘from the world of published books, in a gradual progression towards silence and into a richer inner landscape’. But, Falkiner shows, this ‘richer’ inner life was always plagued by depression (and one serious suicide attempt), a one-time addiction to prescription drugs, a very complicated (dependency) relationship with alcohol, a fear of madness and a failure to establish long term sexual relationships and to acknowledge and accept his sexuality.
Australian poetry reminds us that we cannot encounter the natural world except by cultural means. As Tom Griffiths writes, the idea of the natural world as a ‘cultural landscape acknowledges that an area is often the product of an intense interaction between nature and various phases of human habitation, and that natural places are not, as some ecological viewpoints suggest, destined to exist as climax communities or systems untouched by human hands’ (1996, p 277).
The Gulf’s ancient tongues are hobbled by inherited trauma, gene-crackers sadistically scabrous and burgeoning in the remembered fluency of wire-tipped stockwhips and all those manhandled civilisers of a splendid frontier’s orders. And though munanga were not to prosper in these …
for my bardibardi kujaka: Gloria Friday, Marjorie Keighran & Clara Roberts This is my recovery road, to follow the bardibardi into the Gulf’s wild pharmacy; I let myself surrender to those hallelujah hands outstretched to a sandalwood’s leafy collection dis …
My Intervention story began in 2011 when I moved to the Northern Territory’s remote Indigenous Borroloola community; a designated growth town located in the Gulf of Carpentaria, a few hundred kilometers from the Queensland border. As a teacher of outdoor education and health I am often sitting around a fire with kids sharing in the cooking of bush tucker parceled in paperbark while developing sport and camp programs designed to teach emotional resiliency, cooperative group learning, safe decision-making and environmental education. The love and generosity of Borroloola’s Indigenous communities in adopting me as family and welcoming me to Country has been my fire’s embers, stoked and releasing sparks, in plumes of rising heat.