- 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- Winners for the Val Vallis Award for an Unpublished Poem 2017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.
Contemporary Australian Feminist Poetrypresents a compelling cross-section of feminist voices, experiences and engagements in Australia, picking up from where Kate Jenning’s 1975 feminist anthology Mother, I’m Rooted: An Anthology of Australian Women Poets left off.
Reflecting Ben Lerner’s considerable reputation as a novelist and poet, this essay speaks in a voice both sure and self-deprecating. At this level it has already fulfilled a conventional definition of its genre – the effort of rhetoric to explore an idea or problem. The problem that Lerner considers – why is poetry a subject of hatred? – is hardly urgent, and he is quick to admit this. After all, the essay’s topic is an inverted defence of poetry, a tradition with a long history. The pleasures of this contribution, therefore, are Lerner’s unashamed and confident belief in poetic form, and the sympathetic truth to be found in his conclusions.
Influenced and shaped by some fifty years of Indigenous poetry in English, the last couple of decades of Australian settler poetry have advanced prolific attempts to ‘write (oneself) into the country’ (Van Teeseling 209): producing varied and sometimes radical poetries of regionality, topography, climate, and the histories, narratives and landmarks running through and over them. I contend that such contemporary work by settler poets presents a continuum – varyingly compelling attempts to write in the presence not only of Indigenous poetry, but also colonisation’s ongoing effects and of un-ceded Indigenous sovereignty.
The generation of Murray is not my generation. The generation of Adamson is not my generation either. Nor is it Tranter or Kinsella. My generation is a new generation in Australian poetry. In this era of the ‘contemporary’, particularly as a political proposition after the end of history, it is a dangerous endeavour to suggest there is a modernist / social realist debate. And while the actors have undoubtedly changed (as has the world and its labels) we can discern two such derivative realities in the newest generation of Australian poets. These poets are working in ‘deformed realism’ and ‘sentimental radicalism’.
As Feature Reviews Editor and sometime reviewer for Cordite Poetry Review it is an unusual (and therefore fun) privilege to consider a title in which poetry is critically addressed in the company of other forms. Too often it is it either quarantined within poetry-only criticism, or mentioned as an embarrassing aside to discussions of prose.
At the close of his poem for this issue, ‘Heaven, Bruny Island’, Ken Bolton writes how the radio ‘seems to have stopped to listen’. As I reflect on the poems constellated here, I feel they are doing similarly; attending to something that is neither absent nor present. They are listening to signs of that abstract ground: transtasman.
I said comforting things to the scaffold but she only seemed to lean more heavily against the side of the church. We are rarely independent structures she said before she dropped a bolt pin which released a long section of …
Photo by Nicholas Walton-Healey Poetry for Cordite 51: TRANSTASMAN is guest-edited by Bonny Cassidy I’ll be looking for poems that can swim, fly, float, sail and possibly even skim across the very short and very deep difference between Australia and …
In the late 1850s, Charles Harpur composed the image of ‘a scanty vine,/ Trailing along some backyard wall’ (‘A Coast View’). It might be forgettable, save for its conspicuousness in Harpur’s bush-obsessed poetry. Whether purple ranges or groaning sea-cliffs, his poems cleave to a more-than-human continent. The scanty vine, however, clings to a different surface: human-made – the craft of a drystone wall, perhaps, or wire strung through posts like the twist of the poetic line – it signals domestic land division. Harpur’s vine of words trails along the vertical edifice of settlement.
Sometimes irritating, often informative, occasionally incisive and sporadically genuinely interrogatory, the thoughtfulness evinced by (many of) the writings collected in Poetry and the Trace triggers further chains of association and dissociation. This is a genuinely critical collection in various senses of that word: at once analytic, hortatory, and urgent.
for Alice define personism you say under the green light of Toto but that’s men’s business I am telling you how it was fine being trapped that time in your courtyard o’night scaling the wall of my first Fitzroy brick …