- 84: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 81: LANDwith James Stuart and Jane Gibian (submit away!) 80: NO THEME VIwith Judith Beveridge (closed) 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith Keri Glastonbury 56: EXPLODE with Dan Disney 55.1: DALIT / INDIGENOUSwith M Chakraborty and K MacCarter 55: FUTURE MACHINES with Bella Li 54: NO THEME V with Fiona Wright and Omar Sakr 53.0: THE END with Pam Brown 52.0: TOIL with Carol Jenkins 51.1: UMAMI with Luke Davies and Lifted Brow 51.0: TRANSTASMAN with Bonny Cassidy 50.0: NO THEME IV with John Tranter 49.1: A BRITISH / IRISH with Matthew Hall and Sophie Seita 49.0: OBSOLETE with Tracy Ryan 48.1: CANADA with Kent MacCarter and Shane Rhodes 48.0: CONSTRAINT with Corey Wakeling 47.0: COLLABORATION with Louis Armand and Helen Lambert 46.1: MELBOURNE with Michael Farrell 46.0: NO THEME III with Felicity Plunkett 45.0: SILENCE with Jan Owen 44.0: GONDWANALAND with Derek Motion 43.1: PUMPKIN with Kent MacCarter 43.0: MASQUE with Ann Vickery 42.0: NO THEME II with Gig Ryan 41.1: RATBAGGERY with Duncan Hose 41.0: TRANSPACIFIC with Josephine Rowe and Michael Nardone 40.1: INDONESIA with Kent MacCarter 40.0: INTERLOCUTOR with Libby Hart 39.1: GIBBERBIRD with Sarah Gory 39.0: JACKPOT! with Sam Wagan Watson 38.0: SYDNEY with Astrid Lorange 37.1: NEBRASKA with Sean Whalen 37.0: NO THEME! with Alan Wearne 36.0: ELECTRONICA with Jill Jones
- Liam Ferney Reviews Cassie Lewis
- Alice Allan Reviews Watching the World: Impressions of Canberra
- Introduction to Tanya Thaweeskulchai’s A Salivating Monstrous Plant
- Michael Aiken Reviews Dave Drayton
- Owen Bullock Reviews Alan Loney
- Review Short: Holly Isemonger’s Deluxe Paperweight and Jessica Cham’s premium pastoral poetry
- Review Short: Anthony Lawrence’s Headwaters
- EKPHRASTIC Editorial: Poetry that Sees
- J S Harry’s ‘tunnel vision’, Vicious Sydney and The Car Story
- Ekphrasis as ‘Event’: Poets Paint Words and the ‘Performance’ of Ekphrasis in Australia
- ‘Often Said Apologetically’: Merryn Sommerville’s Child of the High Seas
- Tunnel Vision
- Interview with Sidney Nolan (Ella O’Keefe edit)
- Is Contemporary Australian Poetry Contemporary Australian Poetry?
- An Extra Oyster for the Doctors
- John Woodcock Graves the younger [with] Truganini
- APOLLON MUSAGÈTE
- after infatuation—ross bleckner—oil on linen
- Gouache, Sheep Skulls, Fence Bracket
- Anatomy for the Blind
- The Pioneer
- Interior with Figures
- Miro’s Eyes
- Autumnal Cannibalism
- Narrenschiffen, a Collage Sonnet
Aden Rolfe’s False Nostalgia presents a collection of memories and corresponding vagaries of forgetting, which stimulate and unsettle in unpredictable and oblique turns of thought and phrase. His work includes philosophical, lyrical and confessional voices, the overall discourse serving to recreate and recover highly original self-objects in time and space.
While the prevailing formula for the contemporary essay seems to be information plus thesis – a collection of facts held together by authorial intentions – Eliot Weinberger’s approach is striking for a deceptively simple difference. Rather than drawing conclusions for the reader, he lets information become its own argument, however oblique. The resulting essays are open-ended, riddling things, many of which gain meaning in aggregate, like those in Wildlife – whose contents correspond between the animal world and ours – and An Elemental Thing – which come together to create a ‘serial essay’.
When we consider the Heavenly Emporium of Benevolent Knowledge, we inevitably find ourselves discussing not the one but the many: the various extant editions of the compendium, the versions lost to fire and flood and strife over the centuries, the diverse and sometimes contradictory volumes that have pretended to the title at one time or another.
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— …
I Names change but the concept stays the same, tracks you across the valley. Night rides in on a gust star-scatter like so much porcelain. Is an alibi a deleted scene or a red thread? Dust in the pigment matted …
I For some, the relation between the body and external objects is unclear, even when buds are underfoot. For others, it’s the symbolism of the vase they fail to grasp. For both kinds, the gap in understanding is an effective …
I There are those which are alike in spite of appearance which share a secret affinity, an invisible harmony. But then there are those which are neither alike nor unalike that you place in separate boxes as the wind picks …
I There are those you expect him to own and those of which he is not yet aware those catalogued and counted and those he hasn’t thought to dream up those he tolerates on account of his daughter and those …
Photo by Ian ten Seldam Only heads and tongues loll. Apart from one’s time, what can be bided? And how broad is a swathe? Cordite Poetry Review is excited to work with the next generation of Aden Rolfe poetics over …
Catalogue everything in the garden by outlook and trope. Both daylight and shoulders can be broad remember, but are leaves defined by veins or diameter? How many stones have been unturned? And what things are not, apart from holes and …
Poetry collections aren’t prone to extensive reprints, so Kevin Brophy’s Walking, – which includes selections from five previous books – is somewhat of a trove for anyone wanting to access his earlier work. It also features a suite of new poems which, in their gentle complexity, are among his most interesting – testimony to a writer who’s carefully honed his craft over a 30-year stretch.
Out of politeness you probably wouldn’t say, especially when spring has started false and hailstones small as ball bearings ring the roof keeping you trapped at the library a cancelled anatomy book under your arm – or perhaps it’s a …