Siobhan Hodge

Siobhan Hodge has a PhD in English literature. Her thesis focused on Sappho’s legacy in English translations. Born in the UK, she divides her time between Australia and Hong Kong. Her chapbook of reflections on Sappho, Picking Up the Pieces, was published in 2012 as part of the Wide Range Chapbooks series. She is currently the Reviews Editor for Writ Review and an Associate Editor for Rochford Street Review. She has had critical and creative works published in a range of places, including Westerly, Axon, Contrapasso, Peril, Plumwood Mountain.

Introduction to Siobhan Hodge’s Justice for Romeo

Justice for Romeo, as a title, will seem both accurate and misleading for most readers; this is a book decidedly concerned with justice, and Siobhan Hodge’s sense of ethical responsibility pervades the poems. Hodge’s book includes as epigraph the exchange between Romeo and a servant in Act I, Scene ii of the most famous love story of all time; the servant asks, ‘I pray, can you read any thing you see?’, to which Romeo replies, ‘Ay, if I know the letters and the language.’

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Siobhan Hodge Reviews Contemporary Australian Feminist Poetry

Contemporary Australian Feminist Poetrypresents a compelling cross-section of feminist voices, experiences and engagements in Australia, picking up from where Kate Jenning’s 1975 feminist anthology Mother, I’m Rooted: An Anthology of Australian Women Poets left off.

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Review Short: David Gilbey’s Pachinko Sunset

David Gilbey’s long-standing connections with Japan take centre stage in Pachinko Sunset, a collection that embraces simple, direct form to explore a layered series of issues linked with this relationship. The titular ‘pachinko’ refers to a popular Japanese game akin to pinball, in which a cascade of small metal balls are released to strike pins and be channelled off into different locations, with different prize implications for each. This image is a fair comparison for the text as a whole, as Pachinko Sunset delivers a sequence of poems in constant activity, heading in numerous directions at once, yet intrinsically caught up in the anxieties and ironies of travelling, translating, and relating Australia to Japan.

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Review Short: Gina Mercer’s weaving nests with smoke and stone

Gina Mercer’s latest collection, weaving nests with smoke and stone, is a delicate assembly of sights and sounds, visually rich and focused on the natural. Mercer’s repetition of the word ‘fossick’ throughout the collection aptly summarises the poetic processes involved. This is a collection of quick, searching movements. Lyrically deft, musical and richly preoccupied with natural elements, the poems construct meeting points for nature and humanity, ceding more and more with each piece along the way.

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Review Short: Shari Kocher’s The Non-Sequitur of Snow

Dr Shari Kocher’s The Non-Sequitur of Snow is her first full-length publication, following nearly two decades of feature poems in a range of Australian and international journals. There is an airy sense of activity throughout this volume. Kocher’s poetic settings range freely between the material and the imagined, forging connections across generations, yet coming through with surprising steel in some pieces. Structurally the collection is diverse, flowing, and occasionally more experimental.

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Review Short: Rob Walker’s tropeland

South Australian poet Rob Walker’s latest collection, Tropeland, is exceptionally playful. Puns and wry twists in language are balanced with humour and a self-conscious sense of otherness, the speakers always slightly displaced from their subjects. Walker is not pessimistic in this process however; there is a consistently optimistic tone throughout Tropeland, as well as a canny awareness of failings and ironies in life.

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Exploring and Renegotiating Transparency in Poetry Translation

To read poetry in translation, no matter how ‘close’ the rendering is to the original text, is to necessarily involve another figure in the reading and interpreting process. Readers of translations are not only receiving the work of the original …

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Review Short: Susan Bradley Smith’s Beds For All Who Come

Susan Bradley Smith’s newest collection, Beds For All Who Come, is a delicate investigation into the lives of multiple historical figures, transitioning between the public and the personal. The collection is an excellent example of écriture féminine in that a range of individual female voices write to one another, but also acknowledge a fringe of male figures, assessing imagined and historical feelings and experiences, while also exposing some potential issues with this model.

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Stone Horses

Each horse in this frieze is unique in temperament and personality. No horse is a duplicate of any other; the arrangement of head, neck, body, and limbs differs in each, even if only slightly… – “Horse Care as Depicted on …

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Speaking Geographies: Collaboration Over Distance

When in transit and upon receipt, to whom does a postcard and its contents belong? This is one of the questions at the forefront of Speaking Geographies, a collaborative poetry collection by Siobhan Hodge and Rosalind McFarlane. This collection, composed …

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Crossing the Real

Each step is measured in potential thrust rivets twist and divide all strain banks curve away, harshness of lines ascend from hours lung squeeze we span miles all centred floats ghosting ferryways shift territory we revise borders steel shanked and …

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Crossing in Real Time

How should we perform this act of – connection – ? Belief and bridges: ( a journey of suspension but the supports ) are a dissipating concave into this dragon harbour. Can we cantilever ^ this ^ uprising? Or perhaps …

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