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Anne Elvey
20 Poets, a Free Anthology from Cordite Books
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.
Posted in GUNCOTTON
Tagged Alan Loney, Anne Elvey, Autumn Royal, Bonny Cassidy, Broede Carmody, Chris Mann, Claire Nashar, derek motion, Javant Biarujia, Jeanine Leane, Jen Crawford, John Hawke, Kent MacCarter, Kris Hemensley, Matthew Hall, mez breeze, Natalie Harkin, Omar Sakr, Rachael Briggs, Ross Gibson, Tanya Thaweeskulchai, Tony Birch, Zoë Sadokierski
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Introduction to Anne Elvey’s White on White
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’.
On All Souls’ Eve
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 …
Amytis of Media: Her Telling of the Days of Nebuchadnezzar’s Exile
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 …
Sanctuary267
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 …
Camellias
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 …
working from home – to do list
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 …
Review Short: Julie Maclean’s When I saw Jimi, Kiss of the Viking and Kristin Hannaford’s Curio
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’.
Worth words? (or what I loved at fifteen)
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 …
Cassandra Atherton Reviews Anne Elvey
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.
The Day after the Election in a Melbourne Backyard
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 …
Review Short: Diane Fahey’s The Stone Garden: Poems from Clare
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.