Tell Me Like You Mean It v5
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- 104: KINwith E Shiosaki 103: AMBLEwith E Gomez and S Gory 102: GAMEwith R Green and J Maxwell 101: NO THEME 10with J Kinsella and J Leanne 100: BROWNFACE with W S Dunn 99: SINGAPOREwith J Ip and A Pang 97 & 98: PROPAGANDAwith M Breeze and S Groth 96: NO THEME IXwith M Gill and J Thayil 95: EARTHwith M Takolander 94: BAYTwith Z Hashem Beck 93: PEACHwith L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith C Gaskin 91: MONSTERwith N Curnow 90: AFRICAN DIASPORAwith S Umar 89: DOMESTICwith N Harkin 88: TRANSQUEERwith S Barnes and Q Eades 87: DIFFICULTwith O Schwartz & H Isemonger 86: NO THEME VIIwith L Gorton 85: PHILIPPINESwith Mookie L and S Lua 84: SUBURBIAwith L Brown and N O'Reilly 83: MATHEMATICSwith F Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith V Lucien 80: NO THEME VIwith J Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith K Glastonbury 56: EXPLODE with D Disney 55.1: DALIT / INDIGENOUSwith M Chakraborty and K MacCarter 55: FUTURE MACHINES with Bella Li 54: NO THEME V with F Wright and O Sakr 53.0: THE END with P Brown 52.0: TOIL with C Jenkins 51.1: UMAMI with L Davies and Lifted Brow 51.0: TRANSTASMAN with B Cassidy 50.0: NO THEME IV with J Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with T Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with C Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with M Farrell 46.0: NO THEME III with F Plunkett 45.0: SILENCE with J Owen 44.0: GONDWANALAND with D Motion 43.1: PUMPKIN with K MacCarter 43.0: MASQUE with A Vickery 42.0: NO THEME II with G Ryan 41.1: RATBAGGERY with D Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with K MacCarter 40.0: INTERLOCUTOR with L Hart 39.1: GIBBERBIRD with S Gory 39.0: JACKPOT! with S Wagan Watson 38.0: SYDNEY with A Lorange 37.1: NEBRASKA with S Whalen 37.0: NO THEME! with A Wearne 36.0: ELECTRONICA with J Jones
To read Hile’s poetry is to encounter what it means to be a desiring subject in a contemporary world. Her use of vernacular recalls and transforms the details of everyday life, while gesturing toward the grand themes of a European philosophical tradition.
I was already quite a few years into a creative writing PhD titled ‘Generic Engineering’ and flailing around quite spectacularly in a galaxy of words when an academic friend, perhaps hoping to spare me the indignity of a completed thesis and potential employment, flipped to the middle of the 526-page book he was reading and wordlessly pointed to a single sentence. ‘Due to a predilection whose origin I will leave it up to the reader to determine,’ he read, ‘I will choose the symbol ♀ for this inscription.’
I have many irresolvable arguments with a close and particularly argumentative friend of mine. We regularly disagree, in a civilised, congenial way, on specific topics to do with politics, love, the weather, Asian food and ethics.
Lionel G. Fogarty is an indigenous Australian poet who is recognised for the excavation of a poetic space in which, as Michael Brennan has written, ‘his community and culture is recuperated and asserted’ whilst ‘dominant discourses, both political and poetic’ are subverted and destabilised. These qualities make Fogarty’s work difficult to review in a context in which the status of indigenous literature remains, for some institutions at least, seemingly unapproachable.