- 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
- Paul Munden Reviews The Best Australian Poems 2016
- 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
The greatest thing, writes Aristotle in the Poetics, is the command of metaphor, an eye for resemblances. The first overt metaphor in Tanya Thaweeskulchai’s A Salivating Monstrous Plant appears in its second sentence: ‘These noises conglomerate, building like a nest of waking vipers’.
Fruit is the apogee of the pastoral. It’s what the work, the waiting, the ritual and the thanks are for. But the making of fruit is costly and even the ‘natural’ cycle of things will be managed so some factors are privileged over others. In this cycle of post-lyrical poems, Hall questions the form and circumstances of these factors. What are they?
In the 1990s and early 2000s, Mez Breeze’s mezangelle language needed explication. People who were unfamiliar with internet and new media culture did not get the references. Those who were already immersed in this culture often considered it a separate realm, a cyberspace, and thus had difficulties with the blending of the digital and the physical, technology and embodiment, code and subjectivity in Mez’s writings.
The Only White Landscape is melancholic, in this Wilsonian sense. The poems are scenes of ambivalence and loss, moving between states of recollection and projection, regret and desire, clarity and obscurity. There are preoccupations that link the poems across the collection: bodies (and the clothes they wear, the language of their presence and absence), light (and its close relationship to time), administration (and the twin labours of work and home).
Omar Sakr’s These Wild Houses is a complex exploration of identity, an identity exposed in clear yet layered language, a language that takes us to the core of what he has experienced as a ‘queer Muslim Arab Australian from Western Sydney, from a broke and broken family.’
How can one write words about a poet? Last year, Kris Hemensley and I considered Émile Chartier (Alain)’s assertion that ‘men are afraid to complete their thoughts’, on our way to visit Greta Berlin, whom I had first met in Zennor as a small child and whose father, Sven Berlin, had enthralled a young Kris Hemensley in 1963 with the accoutrements of the artist and his first taste of red wine. And down by the harbour in Weymouth, we had already discovered a shared admiration for W S Graham. A framework was emerging.
Chris Mann read at Melbourne’s La Mama in the early 1970s, where he first impressed me as a bold exponent of a sort of critical, larrikin and compositional linguistics, and seemed very much at home in the theatre’s performance space, with its nascent egalitarian ethos. Some listeners I noticed may have been equally perplexed as intrigued by his well-timed delivery, his knowingly artful shtick and highly patterned patter.