- FREE: 20 Poets anthology
- 85: UNPRINTABLEwith J R Carpenter and Benjamin Laird (coming soon!) 84: SUBURBIAwith Lachlan Brown and Nathanael O'Reilly(submit away!) 83: MATHEMATICSwith Fiona Hile (coming soon!) 82: LANDwith James Stuart and Jane 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 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
- Dale and Fleming on as Commissioning Editors
- Owen Bullock Reviews A Transpacific Poetics
- 20 Poets, a Free Anthology from Cordite Books
- Review Short: Jill Jones’s Brink
- Review Short: Shane Rhodes’s Dead White Men
- Introduction to Jeanine Leane’s Walk Back Over
- Introduction to Anne Elvey’s White on White
- Winners for the Val Vallis Award for an Unpublished Poem 2017
- Buying Satin Dresses at Yu Garden
- (after) HER: dating app adventures
- The Future of Music
- His Master’s Voice
- Quietly, on the way to Mars
- Submission to Cordite 84: SUBURBIA
- Signs from Asemia: Yasmin Heisler Reviews asemic 15
- Review Short: Aileen Kelly’s Fire Work: Last Poems
- Review Short: Brian Castro’s Blindness and Rage
- LAND Editorial
- The Land as Breath: Can Poetic Forms Be Metaphors for Landscapes?
- Concrete: A Shikoku Pilgrimage
- World of Feelings: Ghassan Hage, Bruce O’Neill, Magic Steven and the Affective Dimensions of Globalisation
- Un(dis)closed: Reading the Poetry of Emma Lew
- Architecture, Poetry and Impressions of a Bendigo Chinese Doctor, James Lamsey
- Possession, Landscape, the Unheimlich and Lionel Fogarty’s ‘Weather Comes’
- Placeways in the Anthropocene: Phyllis Webb’s Canadian West Coast
- 12 Pigment Prints on Paper by Tony Albert
- ‘a serpentine | Gesture’: The Synthetic Reconstruction of Ashbery’s Poetic Voice
The geographic barriers that can, at times, hinder Australian literature are no longer relevant, and poetry communities around the world must be enlightened by the commanding, demanding and exciting trajectory of contemporary Australian poetics.
What is happening in these poems? Or do I mean what happens to us, the readers? But which ‘us’? And what reader? I am not really talking about feeling, although who couldn’t, wouldn’t, feel when ‘School Days’ – a poem that records every detail of white skin and soul, sun-warmed government-issue school milk and British ritual in one colonial Australian home – has another child, likely an Indigenous Australian child, stolen ‘while waiting for a train’.
The map sketched on the oval of the Sir Douglas Nicholls Reserve had borders formed by the meander of Murray and Bay, Pacific and Bight, the straight lines of neighbour states and the name of a nineteenth-century queen. Stones marked …
White stars stud the indigo like the dowry on my veil when my father sent me from Media to sign a pact with Babylon. Neb has been wandering for seven years. At first our cattle flourished like the shrubs that …
In February 2016, after a High Court ruling against a challenge to the legality of Australia’s practices of arranging for the detention of asylum seekers in offshore facilities, a grass roots campaign mobilised around the slogan #LetThemStay. 267 people, including …
A canvas stretches beneath the colours of camellias and rain. A child has left. The heads are petals tucked crimson around gold—the stamens, pollen- thick. A parent lives. Dropped from the stem they fall intact. A spouse is sutured and …
12 buttons brown thread take your psyche for a walk pack the wheelchair into the station wagon for the doctor’s kiss the cat kiss the cat? the cat died years ago water the herbs pray over the olive tree drench …
Poems of England in the 1960s, youthful romanticism, experimentation and love are threaded with a wry understanding of gender relations and choices made, then move to more sober reflections. In ‘Brides that Never Became’, standing in an English church the speaker wonders about a relationship that might have been, had she not ‘looked over the lichened / fence, dry stone wall, / swollen ocean to another land’ (When I saw Jimi, 31). Outside by a river she finds a ‘flimsy tribute to a young Indian couple’ who have died there; their wedding also ‘never became’.
I have felt, I have felt a disturbance that presences with the alleviation of joyed things, almost fifty summers, fifty winters and the sister in the earth, myself tucked into the YHA near Windermere. I take a track through ancestral …
The kinship Elvey forges between her poems and ecological criticism lends both rigour and reverence to her first full-length collection of poetry. There is a radiant stasis at the core of her poems that encourages the reader to listen to the susurration of multiple, overlapping conversations to which Elvey is contributing.
1. The cone roosts in the tree. The sky responds with blue. The radio crackles and the pundit says we get what we 2. deserve, electing a crowd of daleks with their rind and their heart of imagination and a …
A note on the copyright page of The Stone Garden reads: ‘The Stone Garden is written in tanka, the five-line Japanese lyric form, the first and third of its lines having five syllables, the others, seven.’ The book keeps to this syllabic form throughout with two five line poems to a page. These poems from Clare unfold in six sections and Fahey’s craft is evident in the way she can break registers of imagery with engaging shifts and turns.