What might it mean to acknowledge that this is the substance of the labour performed by many of us, those of us who aspire to do anything but?
Here there are plastic chairs, plastic tables, phone screens, tv soaps, chicken rice, and the poem’s final word, which tells us what we have always known.
Perhaps the moment-to-moment labour of crafting verse is not wildly dissimilar to the invisible quotidian acts of looking after those we love.
The archive is a site of both order and trouble. It could be said that the archive is where history goes to sleep.
So why bring Veronica Forrest-Thomson into a discussion of Asian Australian poetry? There are a couple of circumstantial coincidences: she was born in British Malaya (her father was a rubber planter) and found an able and sympathetic expositor in the Australian poet Martin Harrison, who gave a 1979 ABC Radio talk on Poetic Artifice.
After months (years?) of stagnation in lockdown, I handle a pen with an uncertain grip. I feel a tremor as I write, now, and my script varies wildly as I adjust and readjust.
When I left Bosnia in 2018, my cousin gave me a book of poetry, Bosansko-Hercegovačka Poezija. It’s a slim volume, bright purple with a pale lilac square on its cover.
‘to make is to risk making a botch’ —Harry Gilonis As we sit down to write this introduction it’s reaching the end of winter in Geelong (Djilang), on unceded Wadawurrung Country – close to a year since we first considered …
A young woman sits partially side-on. Her right hand is wrapped lightly around her left wrist.
She wears no necklace, no rings. She sits against a blue sky.
A lot happened over the months we spent working on this issue, from November when we published our playful, hyperactive call-out, to now, the beginning of winter, a date that marks a shift in the year’s trajectory. It’s time to …
My youngest aunt, Irene, has a dream which she recounts to me, one unremarkable morning, when I am reading to my father over the phone.
KIN explores how kinship, our understandings of who we are and where we come from, engages with dynamic senses of Country and belonging to Country.
After one year, 80 gigs and countless nights worrying, I finally told my parents I did stand-up comedy.
Image by Lauren Connelly. 3920 words. 22-minute read. Welcome to the world of snackable content. Listen closely: like an ambient soundscape, its soft tides wash over you and you devour it quickly. Sometimes, it repeats an opinion you’ve already developed, …
It’s a putting oneself into a space of deliberate uncertainty. Stepping into the unknown. A practicing in that space. Training.
I don’t eat pork. Dislike its taste and texture. Perhaps this is because my mother is a terrible cook, her meats always tough and dry.
The uneasy and subjective (this is an accurate phrase, so I’m borrowing it) process of selecting poems felt more heightened in this process because of the solitude.
Erasure Poetry As Outsourcing the Lexicon with Reference to Srikanth Reddy’s Voyager and M NourbeSe Philip’s Zong!
Certainly one of the most radical works of erasure poetry is Zong! (Wesleyan, 2008) by M NourbeSe Philip. Where many other examples choose an ample text to move through in linear fashion, producing enough material in the process to constitute the project in its entirety, Philip instead reacts to an extreme paucity of information.
It was August 2017 and the location was The Tibetan Kitchen on Brunswick Street in Meanjin, Brisbane.
The inclination, first, and then the capability, of schooled literacy in its institutional framing – most prominently the study of literature – to integrate videogames into its terms of reference has been of interest to us for over a decade.
Signalling possession, privatisation, and productivity, the fence was one of the main props by which a cadastral grid (comprised of adjoining rectangular land parcels) was imposed on the Australian landscape.
The relation of digital games to narrative and storytelling has been the subject of considerable back-and-forth among academics, who sometimes seek to draw hard lines between putatively linear media such as novels, film or TV, and the multilinear structures of digital games.
On Instagram, old questions about sincerity and identity in the lyric voice meet new pressures from the digital attention economy. This collision has produced evolutions in form, but also prompted critical questions about the Instapoem’s commodification of selfhood and about …
A state of bliss requires an openness to uncertainty. And why not learn all this with love?