- 104: KINwith E Shiosaki 103: AMBLECOMING SOON with E Gomez and S Gory 102: GAMEwith R Green and J Maxwell 101: NO THEME 10with J Kinsella and J Leanne 100: BROWNFACE with W S Dunn 99: SINGAPOREwith J Ip and A Pang 97 & 98: PROPAGANDAwith M Breeze and S Groth 96: NO THEME IXwith M Gill and J Thayil 95: EARTHwith M Takolander 94: BAYTwith Z Hashem Beck 93: PEACHwith L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith C Gaskin 91: MONSTERwith N Curnow 90: AFRICAN DIASPORAwith 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
Translated by Gu Yiwei and Cassandra Atherton Death, is another child, with a thin face Occasionally he comes to play with me, knocks three times, moderate and regular, forming a habit Like the scar on his forehead that is uncovered …
The snow turns our year into white noise. Like the echo chamber in your noise cancelling earphones, the bliss is whitewashed with flurries of snow. My body becomes powdered chalk; your touch is desiccated. On First Night, I watch the …
In ancient Greece ekphrasis was understood more broadly than in the contemporary world, indicating a complex genealogy for this term that encompasses so much fine poetry as well as many other forms of writing.
‘The atomic landscape … does not allow me to rest’: Kurihara Sadako and the Hibakusha Poet as Public Intellectual
The 70th anniversary of the atomic bomb being dropped on Hiroshima was marked by a solemn ceremony in the Hiroshima Peace Park on 6 August, 2015.
EXPLODE Editorial: Awfully Passionate Egregious Demagogueries … reflections on absolutes, straying, anguish and bees
If poets are in the business of cultivating ‘voice’ then, logically enough, to which ends? Is there an onus not only to learn how to speak but to also become versed in what to speak of?
You survive the flooding of the Lower Ninth Ward by taking cover in the bottom quadrant of my heart. Body count zero, I scrawl, to let people know you are safe. I’m your search squad, your protection against natural hazards, …
Poetry for Cordite 56.1: EKPHRASTIC is guest-edited by Paul Hetherington and Cassandra Atherton. NOTE: due to the nature of what we’re seeking, we’re going to be accepting submissions to this special issue for a considerable amount of time; submissions close …
Clive James’s Sentenced to Life is a poetic autopathography outlining his years living with emphysema and leukemia. While illness biographies ‘present information about diagnosis, treatment and outcome trajectories’, more importantly, they ‘share how the illness has affected the sufferer’s wider life course, social network and views of health care institutions.’, as Rachel Hall-Clifford puts it in her Autopathographies: How ‘Sick Lit’ Shapes Knowledge of the Illness Experience. However, James’s poetry is most often centred on his personal discomfort, regrets and ultimately his quest for reassurance that his writing and memory will survive his death.
Being in and of one’s time (in favour of it, in fact) means producing work that is sensitive to the discursive furies of the day – the atmosphere of mutating code that the poet must stick to poems in new and strange forms. All else is nostalgia and denial. No-one knows what it means that Australia’s imperial republic, whose god has finally been revealed as cosmopolitan capitalism, is, in the history of colonies, still in its infancy yet so impressively seems to be approaching an end of days. If you’ve got burnt chaps and a warm six-shooter (cowgirl), these are exciting times.
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.
In The Sacred Wood: Essays on Poetry and Criticism, T. S. Eliot famously wrote, ‘Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.’
after ‘Midday’ by So˘ Cho˘ngju. When you leave me, part of your heart will still beat in the empty space between my sheets. When you go, the imprint of your body will throb in the darkness on the mattress next …