CONTRIBUTORS

Zoë Sadokierski

Zoë Sadokierski

About Zoë Sadokierski

Zoë Sadokierski is a Sydney-based designer and writer. She has designed more than 250 books for various Australian publishers, and is Vice President of the Australian Book Designers Association. Zoë lectures in the School of Design at the University of Technology, Sydney, where she runs the Page Screen research studio, experimenting with publication models for limited edition print and digital books. She also writes a column on book culture and reading in a digital age for The Conversation.

Website:
http://www.zoesadokierski.com/

20 Poets, a Free Anthology from Cordite Books

The geographic barriers that can, at times, hinder Australian literature are no longer relevant, and poetry communities around the world must be enlightened by the commanding, demanding and exciting trajectory of contemporary Australian poetics.

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Introduction to Tony Birch’s Broken Teeth

Cover design by Zoë Sadokierski Don’t think you’ll get away with lightly reading these Tony Birch poems. They are not just words whistling on the wind. They come laden with other gifts. With a whole place: Melbourne. With a long …

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Introduction to Jen Crawford’s Koel

Cover design by Zoë Sadokierski The koel is called after its call – its name is onomatopoeic, from the Greek ὀνοματοποιία: ‘ὄνομα’ for ‘name’ and ‘ποιέω’ for ‘I make’. The koel becomes itself as it sings out and is heard …

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Introduction to Autumn Royal’s She Woke & Rose

Cover design by Zoë Sadokierski She Woke & Rose introduces us to a poet, Autumn Royal, who is unafraid to spark light in the darkest of places. The poems in this impressive debut collection illuminate the uneasy space of the …

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Introduction to Claire Nashar’s Lake

Cover design by Zoë Sadokierski In Lake, Claire Nashar navigates the connections between people and between person and place in a striking elegy not only for her grandmother, leading geology academic Beryl Nashar, but also for Tuggerah Lake, an estuary …

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Introduction to Javant Biarujia’s Spelter to Pewter

Cover design by Zoë Sadokierski In Javant Biarujia’s poetry, language matters – matters as in important, and matter as a unifying substance, a material to be transformed, and in so doing, becomes transforming. Particles of language are pounded out, splintered, …

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Introduction to Rachael Briggs’s Common Sexual Fantasies, Ruined

Cover design by Zoë Sadokierski The polka originated in nineteenth-century Bohemia. A dance for two, it is reputedly simple to learn. Three steps and a hop, in fast duple time, with various steps – Turning Basic, Pursuit and Waltz Galop …

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Cordite Books

We’re pleased to tumble out into the world these first four print collections in the new Cordite Books imprint. We had considered print collections for a few years, but the tipping point to actually publish them came in late November …

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Introduction to Natalie Harkin’s Dirty Words


Cover design by Zoë Sadokierski

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Introduction to Ross Gibson’s Stone Grown Cold


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.

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Introduction to John Hawke’s Aurelia


Cover design by Zoë Sadokierski

John Hawke’s forensic inquiries in this book are layered with casual erudition – Diderot, Czech poet Vladimir Holan – and locate the poem as transformative state. Many of these poems conclude with a mystical ascent into nature, reminiscent of Patrick White scenes in which the division between consciousness and the universe wavers, signifying that any reconciliation is epiphanic, claimed by art or religion. Yet nature belittles human effort – ‘The path to the point is marked by a scattering / of impermanent hand-made memorials’ – that is, the poet’s endeavours are precariously, though heroically, makeshift, overlaid; but nature is also that which threatens or devours, ‘digesting light’.

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Introduction to Alan Loney’s Crankhandle


Cover design by Zoë Sadokierski

Since moving from New Zealand to Australia back in 2001, Alan Loney has carried on a prolific, internationally recognised career in Melbourne. Crankhandle, Loney’s latest published work, follows on from 2014’s chapbook collaboration with Max Gimblett, eMailing flowers to Mondrian, and the books from Five Islands Press, Nowhere To Go (2007) and Fragmenta Nova (2005). Borrowing his contemporary Laurie Duggan’s term, Loney can be read as a ‘late objectivist’: worrying at that particular American formal legacy, with its attendant philosophical and ethical concerns.

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