- FREE: 20 Poets anthology
- 93: PEACHSUBMIT to L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith C Gaskin 91: MONSTERwith N Curnow 90: AFRO AUSTRALIANwith S Umar 89: DOMESTICwith N Harkin 88: TRANSQUEERwith S Barnes and Q Eades 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 F Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith V Lucien 80: NO THEME VIwith J Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith K Glastonbury 56: EXPLODE with D 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 P Brown 52.0: TOIL with C Jenkins 51.1: UMAMI with L Davies and Lifted Brow 51.0: TRANSTASMAN with B Cassidy 50.0: NO THEME IV with J Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with T Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with C Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with M Farrell 46.0: NO THEME III with F Plunkett 45.0: SILENCE with J Owen 44.0: GONDWANALAND with D Motion 43.1: PUMPKIN with K MacCarter 43.0: MASQUE with A Vickery 42.0: NO THEME II with G Ryan 41.1: RATBAGGERY with D Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with K MacCarter 40.0: INTERLOCUTOR with L Hart 39.1: GIBBERBIRD with S Gory 39.0: JACKPOT! with S Wagan Watson 38.0: SYDNEY with A Lorange 37.1: NEBRASKA with S Whalen 37.0: NO THEME! with A Wearne 36.0: ELECTRONICA with J Jones
- NO THEME VIII Editorial
- ‘A means of resistance’: Susie Anderson Interviews Alison Whittaker
- 10 Works by Richard Bell
- Shipwrecks in Modern European Painting and Poetry: Radical Mobilisation of the Motif as Political Protest
- 4 Self-translations by Danijela Trajković
- Brutalism: Poems by Alex Creece
- Imperfect Growth: a Travel Log
- 4 Translated Kim Seung-hee Poems
- Residence: Dwelling with The Shards (an essay)
- The Shards
- in yr swimming pool
- Sonar for Conception
- The slow clock
- nanny on the water
- Vernal Funks & Bluffs
- I’d Have Called Her Sooner
- Call of Summer
- Sunday, call me a squid
- Mother Bird
- The Wrong Colour
- Milk River
- House fitting : surprisingly
- Farewell to Sweet Pea
In 1890, an American aeronaut named Millie Viola departs the Geelong showgrounds in a hot air balloon, in order to give an assembled crowd of onlookers a parachute jump display. Her ascension followed foiled attempts earlier in the week, but, according to the Geelong Advertiser’s archives, ‘Mademoiselle Viola’ at last ascends – to the gratification of ‘an increasingly dubious crowd’ – to around 5000 feet (1540 metres), and comes close to being swept into Corio Bay.
Readers of contemporary Australian poetry will most likely need no introduction to the work of Adelaide-based Ken Bolton. In a career extending back to Four Poems (1977), Bolton has established a distinctively discursive poetry, one that weaves observations of the poet’s everyday environment with musings on art, culture, and society more generally.
A stormy romance ends in the arms of another, ends with ‘too long at the bar’. Am I marrying for money? Should I hire a wig? I buy a book on ways to disappear. She licks the stranger’s face. I …
In 2012 Puncher & Wattmann published Laurie Duggan’s serial ‘Blue Hills’ poems in one collection. The ‘Blue Hills’ – a sequence that first appeared in Duggan’s The Great Divide (1985) and then reappeared intermittently through a number of subsequent books until being brought together in The Collected Blue Hills – are notational works concerned with the idiosyncrasies of place, or perhaps space, depending on one’s theoretical allegiances [if any].
—after a line by Fiona Hile Not yet drunk, or appreciating poetry—stuck on the highway—I offer the male glaze, you imitate the silence of Werribee. Spot any zebra? I spy— one donkey. I say: ‘the party will be over… I …
The poems in Cameron Lowe’s Circle Work swing across each page at a strangely measured, athletic tilt. The scope is local and vast, the gaze muscular, and Lowe sweeps the vistas (from Corio to the universe) for details apprehended as preternatural. His rapture typified in the lines, ‘the body’s cruel admission// that close is never close enough’ (56), these poems skirt edges of realness without entering the domain of things. Lowe’s is a poetics of evanescence, not arrival, and Circle Work frames the contours of human habitats as noise-filled within <
‘What is a / poem, anyway’ —James Schuyler Morning’s kiss your kiss leaves and noisy sparrows— outside the open window guys are up to something of importance— ‘… the sewer’s not … can you get the fucking waders …’
Pete Spence’s chapbook Excurses follows closely on the heels of his excellent book-length collection Perrier Fever (Grand Parade Poets, 2011). Long known as an exponent of visual poetry and mail art, Spence’s more ‘conventional’ poetry has, somewhat surprisingly given his long publishing history going back to the 1970s, slipped under the radar to some degree. One hopes these recent books will go some way to rectifying this oversight, for Spence’s work strikes a particularly distinctive note among contemporary Australian poetry.
Four poems from the past three issues of Cordite Poetry Review have been included in Best Australian Poems 2012 edited by John Tranter. Congratulations go out to Josephine Rowe for Atlantic City (Cordite 37.1), Cameron Lowe for Turkey in the …
To whoever’s happy batting I rose beyond the daydream of Sydney Harbour considered as a Matisse despite not having been there (and would have ‘kissed her while she pissed’—as did Williams —only she was walking the streets of Graz) I …
Graphic by David McCooey Whitmore Press, 2010 Porch Music by Cameron Lowe Whitmore Press, 2010 Though relatively young, Geelong-based Whitmore Press’ poetry series already boasts strong collections by Barry Hill, Paul Kane and Maria Takolander, amongst others. With Graphic by …
The immediate target of the Malley hoax was Max Harris and those associated with Angry Penguins, but McAuley and Stewart also had ‘bigger fish’, as it were, in mind. Herbert Read in particular, the English poet and critic—whose writings were a significant influence on Max Harris’ own poetry and aesthetics—was very much in the hoaxers’ sights.