Interior Spaces: Reading Landscape through Jill Jones


Image by Annette Willis

There is a photograph I have returned to several times. It was taken during the drive from Melbourne to Perth, at the petrol station which marks the town of Nullarbor, while Lucas was filling our tank. In it, a storm front is approaching, the sky a deep violet-blue which emphasises the red scrub of the plain and the bright yellow of a limestone road skirting round behind the buildings and out of sight, blocked by a makeshift white fence and hand-painted red ‘no entry’ sign.

It fascinates me, this image, in the same way the experience of the place did in the moment I took it. Continue reading

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Submission to Cordite 56.1: EKPHRASTIC

Ekphrastic

Poetry for Cordite 56.1: EKPHRASTIC is guest-edited by Paul Hetherington and Cassandra Atherton.

NOTE: due to the nature of what we’re seeking, we’re going to be accepting submissions to this special issue for a considerable amount of time; submissions close 1 NOVEMBER 2016.

Ekphrastic poetry has a long and rich history. While the meaning of ekphrasis has changed over time, ekphrastic poetry – however it is defined – has played an important part in many poetic traditions. Ekphrasis now generally refers to poems that evoke and / or respond to a work of visual art. Indeed, John Hollander (echoing Simonides) has said that ‘Works of art are silent; poetry speaks its mind’ – and ekphrastic poetry speaks of works of visual art with new inflections and, often, unexpected emphases. There are myriad well-known examples of ekphrastic poetry, including Rainer Maria Rilke’s ‘Archaic Torso of Apollo’, Anne Sexton’s ‘The Starry Night’, Marianne Moore’s ‘No Swan so Fine’, John Ashbery’s ‘Self-Portrait in a Convex Mirror’ and W H Auden’s ‘Musée des Beaux Arts, re-imagined by William Carlos Williams as ‘Landscape with the Fall of Icarus’.

Notional ekphrasis is a term that usually refers to poems that evoke a work, or works, of art imagined by the poet rather than referencing an actual artwork. Such poems are doubly creative. They imagine and ‘create’ in words, one or more works of visual art and also, and simultaneously, imagine and create a poem. Perhaps the most famous English-language examples of such poetic works are Keats’ ‘Ode on a Grecian Urn’ and Browning’s ‘My Last Duchess’, and there are many others besides.

For this issue of we are looking for:

poems that are conventionally ekphrastic (such works should be identified on the manuscript as ‘an ekphrastic poem’ and we would like the work(s) of art referred to in the poem clearly identified – including title(s), artist(s), dimensions in centimetres and, where appropriate, the institution in which the work is held);

and

poems of a notional ekphrasis (such works should be identified on the manuscript as ‘a poem of notional ekphrasis’).

Artworks directly referenced in ekphrastic poems may include paintings, photographs, sculptures, multimedia works, etc. If contributors would like to suggest that specific works referenced by a poem are reproduced as illustrations for the issue, they may do so providing they include a digital copy of the relevant work(s) and written evidence that they have all relevant permissions to permit the reproduction of the work in Cordite Poetry Review. Cordite Publishing Inc. cannot accommodate reproduction fee of any artworks and the decision about whether to reproduce a work will be solely at the discretion of the editors. No poems should be submitted that depend for their success on the reproduction of the artwork(s) they refer to, instead ekphrastic strategies should be employed to explore this connection between art and poetry.

Please note that we are also interested in receiving prose poems. More generally, we are looking for poems that persuade us that we are ‘seeing’ an interesting work of art through the medium of language while also reading a lively and inventive work of literature (however, we don’t need to ‘see’ it all; please do not send purely descriptive poems).


Please submit only once, with a maximum of three (3) poems in one (1) document … but first, please read the submission guidelines.

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Review Short: Rachael Munro’s Indigo Morning

Indigo Morning by Rachael Munro
Grand Parade Poets, 2014

Rachael Munro is a keen observer who writes in a language of nettles and nets, establishing a daily mood via the accumulation of certain details. This is a book of apricot tissue petals and fences-turned-crystal lattices; of the world in its weather and a poet caught in the tangle.

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Review Short: Pam Brown’s Missing up

Missing up by Pam Brown
Vagabond Press, 2015

From the cover, let alone the first lines, the title appears apt: a sense of levitation, humming along wires, strands of illumination flickering through a work of direct and intimate voices, understated in its deftness and density, with light touches that lift the lexis, and air pockets in its seams of meaning. Spread out across the pages are samples of complete, if not absolute contemporaneity interspersed with work that decries the shortcomings of an age in which culture is so often presented as a commodity. Pam Brown’s latest collection showcases self-objects and articulates responses to salient concerns, providing masterful representations of the everyday and outré that take their time to settle into the spaces and absences within which they are framed.

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Review Short: Anna Kerdijk Nicholson’s Everyday Epic

Everyday Epic by Anna Kerdijk Nicholson
Puncher & Wattmann, 2015

In the untitled preface to Everyday Epic, Kerdijk Nicholson describes how ‘the poet grinds down / a sum of parts / to atoms’. The result is a world in which the most quotidian of instances and images are made ‘alchemically new’, an echo of Ezra Pound’s credo to repeat, but with difference. These lines also suggest that the process of grinding down is at once violent and erotic, displacing and magical, disturbing and strangely familiar. Continue reading

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Review Short: Frank Russo’s In the Museum of Creation

In the Museum of Creation by Frank Russo
Five Islands Press, 2015

‘…Poetry … puts the whole world out of whack’ according to MTC Cronin in her latest collection The Law of Poetry (2015) echoing the 1930s structuralist definition of poetry as ‘language made strange’.

I think the first poem in a first collection should carry some whack – should both seduce and disturb a reader. And so it is with ‘The Archivist’ at the beginning of In the Museum of Creativity: there are strange and confronting images and phrases which tease partly by problematising what and how we understand language and poetry. Continue reading

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Review Short: Chloe Wilson’s Not Fox Nor Axe

Not Fox Nor Axe by Chloe Wilson
Hunter Publishers, 2015

On a first reading, Not Fox Nor Axe is likely to leave you a little breathless, not only as a result of the brio of the poems – as there is plenty of that in them – but from their relentless variety. They start with the evil knitters at the foot of the guillotine in Revolutionary France, and go on to the contents of Tchaikovsky’s desk, a female Ukrainian sniper of the second World War, Lady Jane Grey, William Stark (an eighteenth century physician who, experimenting on himself, predictably died young), shipwrecks, Marie Curie and a host of others.

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Peter Kenneally Reviews Jan Owen and Tim Cumming

Rebel Angels in the Mind Shop by Tim Cumming
Pitt Street Poetry, 2015

The Offhand Angel, by Jan Owen
Eyewear Publishing, 2015

Every so often a reader will come across a book that seems custom-crafted for – or even, disconcertingly, out of – their own matter and marrow. For me Rebel Angels in the Mind Shop by Tim Cumming ticks boxes at a machine gun rate, even in its insouciantly avuncular foreword. There, Cumming gives an account of buying The Rebel Angels by William Robertson Davies (dense, curious, intricate), and then at Treadwells (a bookshop for occult fanciers) picks up a copy of Oral Folk Tales of Wessex, published in 1973 (‘a year I like – it’s got a nine, a seven, a three and a one in it, all powerful numbers’).

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‘Crazed recuperant earthling’: The Use of Humour to Portray Psychosis in Three Australian Poems

The word ‘psychosis’ is derived from Greek, and etymologically means ‘life of the spirit’, or ‘to give animation to soul and mind’. This sense of ‘life’ or ‘animation’ has manifested through literatures of madness in a plethora of movements and forms. We’ve had the comically deluded protagonist of Don Quixote; the lunatic fool on the Renaissance stage; the manic villain in the superhero film; and, in the contemporary Australian context, caricatures of madness in films such as Cosi and Mental. Continue reading

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Review Short: Shari Kocher’s The Non-Sequitur of Snow

The Non-Sequitur of Snow by Shari Kocher
Puncher & Wattmann, 2015

Dr Shari Kocher’s The Non-Sequitur of Snow is her first full-length publication, following nearly two decades of feature poems in a range of Australian and international journals. There is an airy sense of activity throughout this volume. Kocher’s poetic settings range freely between the material and the imagined, forging connections across generations, yet coming through with surprising steel in some pieces. Structurally the collection is diverse, flowing, and occasionally more experimental.

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Review Short: Omar Musa’s Parang

Parang by Omar Musa
Penguin, 2015

Omar Musa is something of a phenomenon. I mean that both in the demotic and the philosophical senses. Self-publisher, author of the successful novel Here Come the Dogs (longlisted for the Miles Franklin), lyricist with international hip hop outfit MoneyKat, Wikipedia subject. As demonstrated by the author photo in this book Parang, autobiographical promotional videos (‘Live and Direct from Kingsley’s Chicken’), comparisons to Junot Diaz and his sartorial style, Musa has made a career from ‘the street’.

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Michael Aiken Reviews Ouyang Yu

Fainting with Freedom by Ouyang Yu
Five Islands Press, 2015

Ouyang Yu is a prolific writer whose combination of occupations – poet, novelist, translator, academic – gives some context to this book’s obsessive engagement with word, language and meaning. His biographical note mentions that he came to Australia at the age of 35, and there’s a pervasive trope in Fainting with Freedom of a stranger-in-a-strange-land’s curiosity for the materiality of language and its malleability: something akin to what Kerouac once alluded to when he described his relationship to English – a language he didn’t learn until he was eight – as a tool he could very consciously manipulate as necessary for effect and meaning. Continue reading

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Review Short: Judith Crispin’s The Myrhh-Bearers and Jillian Pattinson’s Babel Fish

The Myrhh-Bearers by Judith Crispin
Puncher & Wattmann, 2015

Babel Fish by Jillian Pattinson
Puncher & Wattmann, 2015

At a first, casual reading, it is easy to see why Jillian Pattinson’s Babel Fish won the 2010 Alec Bolton Prize. Here is a polished and elegant collection, addressing not only the expected emotional and personal depths of the lyric, but also casually marrying art and science with unashamed reference to untouchable greats of literature and, dare I say it, a carefully monitored spirituality.

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Review Short: Dennis Haskell’s What Are You Doing Here? Selected Poems

What Are You Doing Here? Selected Poems by Dennis Haskell
University of the Philippines Press, 2015

Dennis Haskell’s new selected is part of an interesting trend. In the past few months three other Australian poets (Adrian Caesar, Jan Owen and Robyn Rowland) have also had books published overseas that, in more congenial times, might well have been published here. In each case there’s a plausible explanation but it’s an interesting phenomenon even so.

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Alice Allan Reviews Rabbit, Verge and Cuttlefish

Rabbit: A journal for non-fiction poetry #15 and 16 (Winter 2015): ‘Biography’. Edited by Jessica L Wilkinson, AJ Carruthers and Sally Evans
School of Media & Communication, RMIT University

Verge 2015: ‘Errance’
Edited by Joan Fleming and Anna Jaquiery
Monash University Publishing, 2015

Cuttlefish, Edition 1
Edited by Susan Midalia, Angela Meyer and Roland Leach
Sunline Press, 2015

The Australian poetry scene, however you define it, is definitely thriving. So much so that it sometimes causes consternation. Perhaps you’ve been there at a poetry gathering or launch when someone wonders aloud whether, ‘thriving’ is one step removed from ‘overgrown’ – whether this healthy scene is actually in need of some ruthless pruning.

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Review Short: Fiona Wright’s Small Acts of Disappearance: Essays on Hunger

Small Acts of Disappearance: Essays on Hunger by Fiona Wright
Giramondo Publishing, 2015

The essay collection is a form that writers are turning to more often and no wonder, when the form offers so much potential, a potential totally realised by Fiona Wright’s Small Acts of Disappearance: Essays on Hunger. There are many things to admire in this collection, not least being the fact they defy categorisation.

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Review Short: Andy Jackson’s Immune Systems

Immune Systems by Andy Jackson
Transit Lounge, 2015

Andy Jackson’s viscerally potent anthology Immune Systems exposes the reader to the bloodline of medical India, where medical tourism leaves the general population battling fraught poverty and the medical afflictions which accompany it.

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Submission to Cordite 54: NO THEME V Open!

Wright Sakr

Poetry for Cordite 54: NO THEME V is guest-edited by Fiona Wright and Omar Sakr.

This issue will be a glorious miscellany – no theme, no rules, no agenda, (no pants?) – a beautiful ambiguity. We want all of the things that are in between and out-of-the-box, that are fantastic and startling and angry and thoughtful and sassy and wild. We’re looking for poems with flair and fire, substance and style. For poetry that isn’t afraid to speak to what’s happening today, that isn’t afraid to push the boundaries of form and propriety. And for poems that stay playful, poems that can make us laugh out loud or delight in the mad things that are our words. Send us your best, your brightest, your most bonkers, your funniest work – and if none of that sounds suitable, well, all the better. We want to be surprised – such is the joy of editing an issue with no theme.


Please submit only once, with a maximum of three (3) poems in one (1) document … but first, please read the submission guidelines.

Cordite Publishing Inc. Australia’s issue 54: NO THEME V of Cordite Poetry Review is supported by the City of Melbourne through their Arts Grants Program.

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A Complex Contrarian of Occasions: Garry Thomas Morse’s Prairie Harbour

Regina

How do you write about a place that’s not known for much – or that is known for being ‘not much’? If the Romantics sought to imbibe the sublime through encounters with wild nature and the modernists hoped to record the shocking dissonance of urban life, it’s easy to forget that some poems reject the easy juxtaposition between such extreme environments and instead delve into the everyday details of smaller towns, or duller suburbs. Continue reading

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Review Short: Geraldine Burrowes’s pick up half under

pick up half under by Geraldine Burrowes
Rabbit Poets, 2015

Geraldine Burrowes has come to the practise of poetry via a long and varied career in the visual arts that concentrated in its later years on 3D forms. Pick up half under is her first full volume of poetry. It’s an interesting collection, imbued with the peculiarity of the late starter. There’s a sense of the techniques of poetry school being applied, but in the best poems the abstract play of images is framed by life experience to create poignant and original work.

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Review Short: Simon West’s The Ladder

The Ladder by Simon West
Puncher & Wattmann, 2015

In his third collection, The Ladder, Simon West presents a series of poems with the tensile strength of filigree and flower stems, split seconds where meaning occurs as a wavelet suspended above the mosaic particles that make up a beach. After my first reading, I feel sure that I have also felt sunlight glancing off the skin of a grape, tendrils curling around a wooden table leg, sunlight, wine and citrus. Meanwhile from back at the frontispiece, falls the delicate adumbration of half distinct colour from the ‘eyes turned to beautiful eyes’.

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(f) fabulous ones

I

By the time you read the word ‘pebble’
you’re already thinking ‘water’
thinking ‘skin’
thinking ‘one is
not enough’.
To collect something frees it
from the need to be useful—gilded
boats and eggplant robes, sugar
dandies and scented locks—

but if only, you think
if only and instead
the words had come from that croupier.
If he’d written
‘a thesaurus is better
than a dictionary’
then you might take pebble to mean
not ‘moon’ but ‘coin’, not ‘a circle
without blemish’ but ‘darker
when wet’.
Cast over the harbour
the paper swells
the body as surface
and a single black swan
awaits your reply.

II

Not from hunger, so much as sympathy
plucking leaves of watercress.
Not shimmering, but with satin plumes
plucking leaves of watercress.
Not in silence, but without song
plucking leaves of watercress.
Not with teeth, but the whole neck
plucking leaves of watercress.
Not for fear of thorns, but retribution
plucking leaves of watercress.
Not imaginary, but artful still
plucking leaves of watercress.
Not finished, simply unfolding
plucking leaves of watercress.

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2015 Val Vallis Winners

QPFWinner: ‘Precedent‘ by Andrew Last

That rare thing: a non-ponderous sonnet sequence full of surprising imagery, humour and light touches. The poet is obviously at home with the form, the way they vary stanzas and run meaning from one sonnet to the next. Ironic, witty, plays that shock the reader … full of great lines: ‘Here is a familiar blue continent where/ it never rains. But menopause is responsible for/ my mother’s nightmares of Cubism … What kind of artist am I? A sandwich’ and ‘Like a myth, we have been pushing the envelope up the hill’. A greater range of reference than most, too, with ample connections beneath its surface.

Runner up: ‘Haibun: History‘ by John A Scott

An interesting, formally ambitious poem which rewards re-reading. The more you look at it, the more impressive it gets. Very literary; very accomplished technically, with all sorts of deft and clever gestures, and a whole weight of postmodern poetic reading and experience behind it.

Highly commended: ‘Feverfew‘ by Gita Mammen

Clever, surprising, intelligent, inventive, formally adventurous, this poem skilfully creates and sustains a surreal atmosphere … nicely sensuous.

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Feverfew

My son the frog-prince of fitzroy gardens
is running a temp, the poor mite has been tossing
and turning all day with forehead on fire,
eyes bulged more than usual but mind fuddled less than.
Please, he says,
please c’n I have a bit of cool?
So I lay him out in a heritage case that used to hold
his grandma’s spectacles with silver frames that sadly
dissolved in a cleaning accident with vinegar,
surround him with cotton
to soak up the sweat from his tiny web dactyls
and set out on what is sure to be a long haul
with streets way past bedtime, ice houses on bypass
and most cool-wizards asleep at home between clean sheets.

albert → lansdowne → victoria → brunswick

Feverfew is a herb widely found in old gardens
and listed in the great herbals of history — the dioscorides
materia medica of ce 65 and by legend in the shen nung
pen ts’ao ching of bce 3rd millennium — for the formidable
potency of its demure daisy-like flowers,
temperature reduction just one of many attributes,
another, the regulation of day-night body rhythms
by its high concentration of the darkness hormone.

The facade at Number 9 has turned to glass
with faces embedded in its brickwork, like in jelly,
neck up sans haloes, only animated, mouthing words.
Hi, says one, a hand appearing beside the face
to indicate the heritage case in my arms.
The lady says hi, I nudge my princeling.
A bit of cool to you too, he croaks.

brunswick → gertrude → smith
↑ ↓
gertrude ← gore ← greeves

But cool, the same as truth, is like chooks teeth to come by
in back lanes or front, with not one of the other night seekers
having the skerrickest on the laying of patches
over my darling’s frantic little pumping heart

gertrude → fitzroy → princes ↻ ↺ princes

and finally on princes lane I set the spectacle case down
on the bluestone gutter thinking surely
given the dire heritage situation
grandma would jump the cool-bar to help,
but across the tram tracks on nicholson the bombodieri
have begun stomping the soil of the furtive mound
and craters of goo pools have opened up
clicking, clacking, as spectators line up for the chortling frolic
stepping one and then one more into the glug
to be sucked deep into the earth’s fecund triangle,
tickety tack, are then spewed out again on mud geysers
as an airborne flotsam of body-parts that rains down
on watchers screaming in sheer joy at the bitsy
extravaganza, to then wait for the magician to come
forward and fit all the fingers and toes together again
happily like lego and maybe an encore as well
or two, when a hand grips my shoulder
yes, I think, grandma finally,
but it’s an eyehole mask above epaulets that fronts my swivel
and the shush finger right next to where the patches
should’ve been, or something, anything but this.
Please, I say, please.

Feverfew also possesses the mysterious ability
to induce a type of cell suicide
that takes the form of a quiet folding-in
with none of the high drama that characterises
some other passings, even disposal of debris
a low-key merge into surrounds.

But my princeling raises his head,
it’s okay, he says, don’t cry—
blows a final whale-spurt of moss green stuff
—love you,
before turning to the shush finger,
please, he says, a little bit on the lungs,
and then the sighed passing of a gentle breath,
my silent tears, and from across the night-gardens
of fitzroy the whisper of an echo,
a little bit on the lungs, just a little—

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