- 85: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 82: 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
- Chloe Wilson Reviews David McCooey
- Review Short: Lynley Edmeades’s As the Verb Tenses
- Jen Jewel Brown Reviews Dig: Australian Rock and Pop Music 1960-85
- John Clarke’s Complete Verse
- Rachael Mead Reviews Stuart Cooke
- Review Short: Eileen Chong’s Painting Red Orchids
- Review Short: Elif Sezen’s Universal Mother
- 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
Headwaters is Anthony Lawrence’s fifteenth collection and his first with Pitt Street Poetry, whose website memorably suggests the humble reader should ‘Find yourself a shot glass, take a seat, and take a shot.’ This is the first time I’ve seen a publisher suggest their books be read thus, though in their defence, they do so in relation to lines from Lawrence’s ‘Wax Cathedral’. Ah well, when in Rome … a thimble of Lagavulin scotch as required and I’m finally ready to review. Non-drinkers may read on as they are.
In a country town, the doors and poor boxes of churches left unlocked, I would steal away in cricketing heat. The Baker sisters – veiled spinsters in black, were gardening like keepers of bees and secrets. Inside the church the …
I did it like you said I would in terms of how we thought things would go accord- ingly. And yes there’s blood in family, love and sport or making from our words a tight, confused assembly of musical notation, …
Some months back, I ended up sitting next to a fairly eccentric white-bearded bloke on a Sydney bus. Upon hearing I was an Australian poetry researcher, my new acquaintance exclaimed ‘Australian poetry!’ with obvious distaste, followed by ‘Fu–ing Anthony Lawrence!’ He went on to detail how feral Aussie upstarts like Lawrence and ‘bloody Adamson’ were bastardising the great tradition of English Romanticism. As he rose to hop off, I asked for his name. He cheerfully declined.
Mark Reid’s poetry has always delighted and challenged me. His distinctive voice and finely-tuned ear for just the right music has given his work a potency that’s been hard-won. Reid is a craftsman. His tight phrasing and impeccable sense of where to break a line give even his more narrative poems an intense lyrical presence – particularly evident in these marvellous new poems. Reid’s invocation of and ruminations on the biblical giant Og never resort to parody or impose themselves as alternatives to autobiography. It’s hard to pin these poems down, and that’s what makes them so fresh and compelling.
When you are seven years old, lying in the back of a station wagon while your parents play night tennis; when the knowledge that you are going to die one day comes through the rallies, players’ voices, and songs from …
At dusk, on a narrow path by the Chapman River, trying to locate myself, I peel the skin from a honey-locust thorn, and watch black ants move along a branch. The ants have made a dark stain on the bark …