This issue of Cordite Poetry Review is my last as Managing Editor. After eleven years I feel that the time has come for renewal and fresh energy. Therefore I’m also very pleased to announce, after a lengthy selection process, that …
Read four poems by Korean poet Gi Hyeongdo, translated by Gabriel Silvian. These poems, a special addition to Cordite 35: Oz-Ko, are accompanied by an interview between Gabriel Silvian and Oz-Ko touree Terry Jaensch on Gi’s life and poetic works.
This gallery contains 20 photos.
The Conversations with Yi Sang project, co-organised by artist Jooyoung Lee, seeks to interrogate, engage with and memorialise the work of controversial twentieth-century Korean poet Yi Sang. View a gallery of images taken at the house during the Cordite tour of Korea in May 2011.
Compared with Korean poetry, there is an avalanche of translations available of the Chinese and Japanese poets, and most poetry-readers would have some familiarity with Li Po, Tu Fu, Wang Wei, Basho and others. But how many have heard of Hwang Jin Yi, Han Yong Un, Pak Mogwol, Ko Un, Kim Chiha?
Ko Ŭn is a literary giant who has gathered together a suite of folk stories, anecdotes, vignettes and asides in order to construct the monumental edifice of his Maninbo. The title translates literally as the ‘family records of ten thousand lives’, and the poet seems compelled to record the details of those who might otherwise be erased from history.
The Ern Malley hoax provoked a debate that was not by any means unique to Australia. Indeed, the Ern Malley affair is simply an antipodean manifestation of a long-standing discussion in Western culture about the best way for literature and art to respond to the impact of modernity on society.
During a panel at the 2010 Salt on the Tongue poetry festival in Goolwa, SA, one audience member slammed performance poetry as being ‘more about the poet than the poetry’.
The immediate target of the Malley hoax was Max Harris and those associated with Angry Penguins, but McAuley and Stewart also had ‘bigger fish’, as it were, in mind.
Like Rauschenberg’s Dante drawings, John Kinsella’s Divine Comedy: Journeys through a Regional Geography has firstly had to address the question of its status with regard to “the allegorical requirement of a master text.”
If you try and stand in the way of the open source movement, then you are a counter-revolutionary. You may find yourself blindfolded and up against a crumbling wall, waiting for the collective report that will remove you from the picture and allow the future utopia of free knowledge to inch that little bit closer to reality. Like the hard-liners of the FOSS (Free Open Source Software) movement[ii], the Digital Humanities army marches proudly forward waving its banners and imagining a bright, free future for the Humanities.
Do you remember a time when you completed the written draft of a poem and signed it with the © symbol beside your name? By including the copyright symbol you probably thought you were asserting your ownership of the poem and establishing yourself as the creator, as well as protecting your exclusive right to publish, perform or otherwise deal with your creation. However, you do not need to include this symbol in order to be protected by copyright law; in Australia, this protection is automatic when an original work is written and you retain control of your work unless you sell or transfer the exclusive rights.
While writing this work I have been eating wild foods, vegetables from my garden and a small amount of transported agricultural product. I am in transition, along with my family and some community friends, to relocalise food and energy resources and address the degree to which our participation in a hyper-mediated society degrades the ecologies that support us.