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
The presence of John Ashbery shines over contemporary literature, for many as an enigma, indisputably as a catalyst. Part of the post-World War II wave of new American poetry, his name is grouped not just alongside his contemporary poets but among their literary schools and movements: the L-A-N-G-U-A-G-E school, the New York School, the San Francisco Renaissance, the Beats, the Black Mountain poets, our own ’68ers and J.A.
Poetry has a long history of disruption, resistance, and revolution, overlapping the concerns of politics with literature and the boundaries of language.
To many, biographies are a generic section in a bookshop which showcase – as this interview will discuss – a supposed element of ‘truth’. Suggestions of worthiness through platitudes such as ‘based on a true story’ or a ‘definitive biography …
When delivering a thesis presentation based on rethinking the methodologies for reading Aboriginal Australian poetics, a fellow postgraduate student asked me, ‘Do you consider your thesis political?’
EXPLODE Editorial: Awfully Passionate Egregious Demagogueries … reflections on absolutes, straying, anguish and bees
If poets are in the business of cultivating ‘voice’ then, logically enough, to which ends? Is there an onus not only to learn how to speak but to also become versed in what to speak of?
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.
This be the fulcrum, order’s pivot. Powers oscillate my words the rivet, evil, chthonic, to show you malfeasance, the urgency to recompense, the levers wholly off kilter: 1) The tigerfish is the carnivore of the Congo. Obtruding fangs eyes tenebrous …
In a recent article published in Sydney Review of Books, Emmett Stinson argues that Australian reviewers’ and readers’ responses to Australian short story collections are regulated by the receptions of these authors in the US. And so, according to Stinson, the so-called cultural cringe lives on. But is this really the case? And should we really be suspicious of internationally recognised Australian writers such as Chris Andrews whose second collection of poems has been published by Baltimore’s Waywiser Press, the publishers of such giants of US poetry as Anthony Hecht, Richard Wilbur and W. D. Snodgrass?
Paul Kane is the Professor of English and Co-Associate Chair of English at Vassar College in the Hudson Valley, 75 miles north of New York City. In addition to being a prolific poet and scholar of American literature, he is one of the world’s foremost scholars of Australian poetry.
Whatever one may expect from an anthology of contemporary poetry released by a mainstream commercial publisher – an accessible selection of diverse voices and styles, one for both the non-specialist, general reader as well as the (less snobbish) connoisseur, a selection featuring promising emerging writers as well as more prominent authors, and so on – Black Inc. Publishing’s annual Best Australian Poems Series has been meeting these expectations, more or less consistently, for close to a decade. And despite the series’ many specific strengths and few weaknesses, the latest addition to the series follows the same general tradition successfully.
FOR TOO LONG has poetry been disregarded as a valid vehicle for the exploration of real world experience. Too often has poetry been filed in the ‘too hard’ basket and deemed ‘irrelevant’ and ‘inaccessible.’
Vintage in verisimilitude. Private Sale – Vacant Position – Business 1 Zone. Scent of sandalwood, inconsequential bells, organic food and runes. Fortitude begs futurism. Health store – Home ware – Souvenirs. Unrequited regret: fetish value fades from my wallet, untold …
There is only one appropriate way to begin my first news post as Managing Editor of Cordite – that being to extend, then extend further, then possibly dislocating my e-arm in extending further still, a massive thank you (for all …
‘Ern Malley? Again?’ asks David Brooks at the outset of this new reading of what is, arguably, the central event in the history of modern Australian poetry. Brooks’s account is an engrossing, at times exhilarating journey through the landscape of early-mid twentieth century Modernist poetry, but it also leaves the question of the need for yet another volume about the infamous hoax more or less unanswered.
Ali Alizadeh’s latest collection, Ashes in the Air, blows across the fault lines of our manifold present. These are poems of strong rhetorical force. With remarkable alertness to volatile complexities, they engage in an argument with barely comprehensible realities of exclusion and inclusion. They are radical, philosophical and profoundly affective.
In his 2007 essay ‘Surviving Australian Poetry: The New Lyricism’, David McCooey identified the prevailing mode of poetry in contemporary Australia as a negotiation between experimentalism (the new) and traditional composition (lyricism). This view is apposite in describing the work of many important poets of the last couple of decades; but a number of newer Australian poets have gone beyond and broken with this conciliation.
How can I define this Real of language in words? Signs betray its unsayable being like a hoax. Has no authenticity cheated by fakeness; condemns all things to fantasy. How can I praise this enemy of appreciation? When it’s around …
for Felicity Plunkett i In this World – which is not a world – black and white withhold truths. In a world we’d have multiplicities, the purity of unqualified impurities. In ours we possess , are possessed by, the comprehension …
Since the publication of his startling first collection Burning Swans in 1989, John Mateer has established himself as one of the key Australian poets who, for the absence of a better term, can be broadly labelled post-Generation of ’68. What my clumsy terminology seeks to indicate is that Mateer (alongside other younger poets such as those appearing in the seminal 2000 anthology Calyx) follows in the general direction of earlier innovators while making crucial, although not necessarily generational, departures.
In May 2010, Melbourne-based publisher Transit Lounge will release a much-anticipated collection of published and unpublished poetry and prose by the iconic Generation of '68 poet and l'enfant terrible, Vicki Viidikas (1948-1998). The book, simply titled Vicki Viidikas: New and Rediscovered, has been edited by Transit Lounge co-founder Barry Scott. Cordite's reviews editor Ali Alizadeh spoke to him about Viidikas, her iconoclastic work, her unconventional life, and her legacy.
With the success of novels and short story collections such as The Slap and The Boat, it seems multicultural writing is enjoying something of a revival in Australia. Yet poetry written by non-Anglo-Celtic Australians does not usually garner much recognition. It is the prose narratives of dislocation and cultural transition, and not poetry dealing with these themes, which are de rigueur.
Jen Hadfield's winning the 2008 T. S. Eliot Prize for this collection seems truly sensational. Since the UK's most prestigious poetry prize is usually given to older male poets, the 30 year-old woman poet's success could be seen as a radical event. Furthermore, the ecologically conscious discourse of Nigh-No-Place can also be seen as a new, exciting development in the context of mainstream English poetry.
When Epic' was suggested as a theme for an issue of Cordite, I was expecting it to be either rejected outright or at least modified into something less archaic. When it was actually chosen as the theme for issue 31 with myself as the guest editor, I was faced with a more pressing concern: would we receive enough suitably epical submissions to justify our choice of this theme? Or would the dearth of appropriate contributions confirm that, as literary critic Tom Winnifrith has written, the epic is as antique as a dinosaur', or, as Mikhail Bakhtin would have it, the epic poem is an already completed genre … distanced, finished and closed'?
John Kinsella’s most recent book Divine Comedy: Journeys Through a Regional Geography is an incredibly ambitious and meticulous rewriting of that great epic poem of the Middle Ages, Dante's The Divine Comedy. Our guest poetry editor for Epic, Ali Alizadeh, interviewed Kinsella recently, via email. Their discussion ranged from traditional notions of the epic form, and Kinsella's relationship with it, to ecological manifestoes and collaborative projects, and the concept of 'pushing against form'.