- FREE: 20 Poets anthology
- 89: DOMESTIC with N Harkin(submit now!) 88: TRANSQUEER with Q Eades and S Barnes(coming soon!) 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 Fiona Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith Vladimir Lucien 80: NO THEME VIwith Judith Beveridge 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 F Wright and O 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 M Hall and S Seita 49.0: OBSOLETE with Tracy Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with Corey Wakeling 47.0: COLLABORATION with L Armand and H 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 J Rowe and M 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
- Reality On-demand
- What We Know About Her
- Winners for the Val Vallis Award for an Unpublished Poem 2018
- Review Short: Cary Hamlyn’s Ultrasound in B-Flat and Other Poems and Jill Jones’s The Quality of Light and Other Poems
- Review Short: Judith Bishop’s Interval
- Liam Ferney Reviews Kate Lilley and Pam Brown
- Submission to Cordite 89: DOMESTIC
- Review Short: Corey Wakeling’s The Alarming Consevatory
- Daniela Brozek Cordier Reviews Dominique Hecq
- Introduction to DIFFICULT
- An Unwitting Pariah: Kathryn Hummel in Conversation with Kaiser Haq
- Four Translated Vasile Baghiu Poems
- Why Reading Sharon Olds Makes You a Better Person
- Two Translated Marcos Konder Reis Poems
- The Unaugmented Reality of Transgender Discrimination: ‘Do more, do better’
- Experimental Confessionalism: The Personal Turn in American Post-conceptual Poetry
- Punk Calligraphy: A Primer on Asemic Writing and Scribbles
- What the Repetitions of Poetry Might Help Us Remember about Home, Belonging and the Self
- Sonic Twin? A Poetics of Poetic Radio
- 11 Works by Paola Balla
- Do more, do better
- 11 Works by Hoda Afshar
- forgetting as commodity
- Gathering the Rocks
The Music Our Bodies Can’t Hold’s premise is unique: 54 poems for the 54 chromosomes in the human body. Each poem is distinctive in typography and voice, gleaned from a primary source interview of a public or private figure believed to have Marfan syndrome.
after ‘Das Lied des Zwerges’ (The song of the dwarf), Rainer Maria Rilke Crooked blood, stunted hands, cripple, out of place – uncanny how small thoughts can be, while I’m incomparable, only a dwarf because the so-called average person is …
The full set of LW1 arrives in the post like a present, a gift-wrapped bundle of square, slate-coloured books. It came to me looking so perfect, that a couple of days passed before I had the heart to a prise a chapbook from under the clear binding ribbon. This situation gave shape to a thought about the necessity of obstruction in order for words to seduce. Some form of this theory of desire continued to occur to me as I read the books’ divergent visions.
This morning, walking almost naked from the change room toward the outdoor heated pool, I become that man again, unsettling shape to be explained. Such questions aren’t asked to my face. Children don’t mean anything by it, supposedly, so I …
In a recent essay for the London Review of Books, Ben Lerner provocatively suggested that the reason that we dislike poetry (as Marianne Moore does in her infamous ‘Poetry’, which begins ‘I too dislike it’) is that all poems are failures. Each poem is an attempt to translate experience, research, idea or desire into language, and in that leap something is invariably lost – and, I would say, gained – because success is not the polar opposite of failure, but its way of proceeding. The success of a collection of poetry depends upon how the poet, rather than denying this inevitable ‘failure’, acknowledges and incorporates it.
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.
I dust the cobwebs off my spandex and sneakers. This is where I document my progress. I want to take this moment to apologise to my muscles for whatever the hell happened to them the first day. Everyone is fighting their own battle. …
‘Poetry from a body shaped like a question mark’ That is the tag line for Andy Jackson’s blog, and it perfectly sums up the to and fro in his work. Jackson, who has Marfan’s Syndrome, has said that he came to write poetry partly ‘ to control the way people see me. I’d lived with the staring and comments that having an unusual body brings, and I wanted to be in charge.’
How do we truly belong here on this continent, come to terms with our collective and personal history and build a genuine home for the future? And what of the ongoing legacy of violence on an intimate scale, by men against their partners and children – how can this be challenged and interrupted, changed into mutual trust? These are crucial questions; complicated and painful, yet unavoidable. Two new books recognise this and respond with what, to me, are poetry’s great strengths: the generation of an empathic interpersonal encounter, and that aching paradoxical space of both knowledge and productive ignorance.
Radar. Green blips on a black screen. A large and vulnerable craft navigating a changeable world. A technological attempt to locate an invisible danger, or to give shape to darkness. All these associations emerge out of the poetry of Kevin Brophy and Nathan Curnow in their joint collection Radar, albeit in an intimate mode: these poets observe the ways in which we navigate through our lives in the contemporary world and improvise meaning. It is difficult, though, to talk about ‘the book’ because these two poets differ strikingly in their approaches.
You were climbing, when I first saw you, down into the floor of a Fitzroy pub. Whose grave was it, again? Your father’s? Our Father’s? Your own? No, your shadow’s. It was mine too. You could disappear easily into any …
for Matthew Hall, after reading ‘High Pink on Chrome’ by J. H. Prynne Light glancing off polished steel. Steam, petrol, adrenaline in the air. Surfaces – skin, metal, language – all the muscle implied by them. This wreckage of …