GUNCOTTON



Introduction to Tanya Thaweeskulchai’s A Salivating Monstrous Plant

The greatest thing, writes Aristotle in the Poetics, is the command of metaphor, an eye for resemblances. The first overt metaphor in Tanya Thaweeskulchai’s A Salivating Monstrous Plant appears in its second sentence: ‘These noises conglomerate, building like a nest of waking vipers’.

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Submission to Cordite 81: LAND

LandDisturbed land. Conserved land.

Whose land? Yours, mine, the landlady’s?

Landlocked.

Land unlocked.

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Submission to Cordite 84: UNPRINTABLE

UNPRINTABLEWe are looking for digital writing that is any combination of visual, variable, playful, political, procedural, conceptual, computational or performative.

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Introduction to Broede Carmody’s Flat Exit

A first book of poems needs no introduction, being its own forerunner. As a consequence, this note merely states the obvious: that Broede Carmody is a young writer with a great lyrical talent.

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Introduction to Matthew Hall’s False Fruits

Fruit is the apogee of the pastoral. It’s what the work, the waiting, the ritual and the thanks are for. But the making of fruit is costly and even the ‘natural’ cycle of things will be managed so some factors are privileged over others. In this cycle of post-lyrical poems, Hall questions the form and circumstances of these factors. What are they?

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Introduction to Mez Breeze’s Attn: Solitude

In the 1990s and early 2000s, Mez Breeze’s mezangelle language needed explication. People who were unfamiliar with internet and new media culture did not get the references. Those who were already immersed in this culture often considered it a separate realm, a cyberspace, and thus had difficulties with the blending of the digital and the physical, technology and embodiment, code and subjectivity in Mez’s writings.

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Introduction to Derek Motion’s The Only White Landscape

The Only White Landscape is melancholic, in this Wilsonian sense. The poems are scenes of ambivalence and loss, moving between states of recollection and projection, regret and desire, clarity and obscurity. There are preoccupations that link the poems across the collection: bodies (and the clothes they wear, the language of their presence and absence), light (and its close relationship to time), administration (and the twin labours of work and home).

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Introduction to Omar Sakr’s These Wild Houses

Omar Sakr’s These Wild Houses is a complex exploration of identity, an identity exposed in clear yet layered language, a language that takes us to the core of what he has experienced as a ‘queer Muslim Arab Australian from Western Sydney, from a broke and broken family.’

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Submission to Cordite 80: NO THEME VI

Poetry for Cordite 80: NO THEME VI is guest-edited by Judith Beveridge. Here’s what I’m looking for: poems of fewer than 100 lines, on any theme or style. So that’s about as succinct as you can get. Judith worked Cordite …

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Alex Kostas in as Cordite’s First Summer Intern

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Introduction to Kris Hemensley’s Your Scratch Entourage

How can one write words about a poet? Last year, Kris Hemensley and I considered Émile Chartier (Alain)’s assertion that ‘men are afraid to complete their thoughts’, on our way to visit Greta Berlin, whom I had first met in Zennor as a small child and whose father, Sven Berlin, had enthralled a young Kris Hemensley in 1963 with the accoutrements of the artist and his first taste of red wine. And down by the harbour in Weymouth, we had already discovered a shared admiration for W S Graham. A framework was emerging.

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Introduction to Chris Mann’s Whistlin Is Did

Chris Mann read at Melbourne’s La Mama in the early 1970s, where he first impressed me as a bold exponent of a sort of critical, larrikin and compositional linguistics, and seemed very much at home in the theatre’s performance space, with its nascent egalitarian ethos. Some listeners I noticed may have been equally perplexed as intrigued by his well-timed delivery, his knowingly artful shtick and highly patterned patter.

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