GUNCOTTON



Submission to The Lifted Brow and Cordite’s 51.1: UMAMI Now Open!

Luke Davies, Paris, 2014, photo by Samuel Pignan. Poetry for The Lifted Brow / Cordite 51.1: UMAMI is guest-edited by Luke Davies. Submission of flash fiction (between 1 and 500 words max) and poetry will be accepted until 11.59pm, 5 …

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Instructions As Art: Digital Writers as Modern-day Renaissance People

I am now almost thirty years old. While there were many different gaming consoles around when I was a kid, I wasn’t privy to many of them. I was a fairly active child and teenager who spent most of her spare time outdoors (usually wandering around parks aimlessly). My education did not involve classroom computers, however I did have access to one at home.

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How Poems Work: Kate Fagan’s ‘Through a Glass Lightly: Cento for Beginners

We move through language, swimming on influence, arranging words into patterns that make sense for our purposes. An essay with an argument, an email trying to get the day off work, or a poem that tries to make letters do …

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Kevin Matthews Connects with Spoken Word Poet Tanya Evanson

Image from The Great Black North Tanya Evanson is as generous of spirit as she is on stage in the hour we spent on Skype from a sunny, mosquito-netted room in Antigua, following an email correspondence. She has the knack …

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How Poems Work: Nora Gould’s ‘While he waited for the school bus’

‘While he waited for the school bus’ is just one example of the extraordinary work that defines Nora Gould’s new book. Steadfastly observant, carefully detailed and with the capacity to twin trauma and beauty, Gould’s debut collection represents some of …

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Introduction to Essays on The Best Canadian Poetry in English, 2014

Versions of two essays – ‘Best Isn’t a Beauty Contest: How Canadian Poets Demand More of Verse’ by Sonnet L’Abbé and ‘Investigative Poetry: Are Poets the New Reporters?’ by Anita Lahey – preface the newest volume of The Best Canadian …

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Feature Poem with Judith Beveridge: At Willabah

I forget who it was who said that the writer needs to be ‘holy in small things’, but I think there is a great deal of truth in that. That’s one reason why I’m attracted by Todd Turner’s poem ‘At Willabah’. Here, the poet guides us through the details of the landscape in a not dissimilar way to the deep engagement with particulars in such poems as Seamus Heaney’s ‘Death of a Naturalist’ or Elizabeth Bishop’s ‘At the Fishhouses’.

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Submission to Cordite 50: NO THEME IV Open!

John Tranter, Sydney, 2009, photo by Anders Hallengren. Poetry for Cordite 50: NO THEME IV is guest-edited by John Tranter Zounds! We’ve made it to issue 50 in the year that Cordite Poetry Review turns 18. Bust out the Passion …

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Arc 75: The Arc-Cordite Poetry Special Issue

Cover art by Ian Friend My plumbing? Not exactly. But, well, after 14 months in the planning, making, mulling, and editing, it’s finally here: Arc Poetry Magazine 75: The Arc-Cordite Poetry Special Issue. Shane Rhodes and I (Kent MacCarter) co-wrote …

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When the Wind Stopped

I read somewhere that the words ‘ekphrasis’ and ‘ekphrastic’ had at one stage a reference only in the Oxford dictionary, but nowadays these words are very much part of poets’ vocabularies and practices and most poets at some stage write …

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Notes on her ‘Gibson’s Folly (Tambo River)’

The Benambra mine is located on the headwaters of the Tambo River which flows into the Ramsar listed Gippsland Lakes. See Louise Crisp’s poem ‘Gibson’s Folly (Tambo River)‘. The Wilga ore body was mined by Denehurst Ltd. from 1992-1996. The …

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Sustaining Oral Tradition: A Preface to Bulu Line: A West Kimberley Song Cycle

Stuart Cooke’s translation of George Dyuŋgayan’s Bulu Line: A West Kimberley Song Cycle: I cannot over-emphasise the importance of this kind of work. Australians are only too familiar with the significance and value of Indigenous arts as part of the …

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