- FREE: 20 Poets anthology
- 92: NO THEME VIIISUBMIT to C Gaskin 91: MONSTERwith N Curnow, coming soon! 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 Fiona Hile 82: LANDwith J Stuart and J 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 F Wright and O 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 M Hall and S Seita 49.0: OBSOLETE with Tracy Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with Corey Wakeling 47.0: COLLABORATION with L Armand and H 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 J Rowe and M 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
- Aidan Coleman Reviews New and Selected Poems of Anna Wickham
- Ivy Ireland Reviews Ali Whitelock’s and my heart crumples like a coke can
- Editorial to AFRO AUSTRALIAN
- 4 Works by Guled Abdulwasi
- The Platonic Split
- you have no idea how far i swam
- To the still
- Garden of Grace
- Bloody QnA
- The Physics of Self
- Life Poem
- go ahead, call it magic
- Chalk to Charcoal
- (un) learning
- 3 Sisters
- Blood Fuel
- Raelee Lancaster Reviews Alison Whittaker’s Blakwork
- Alex Creece Reviews Marion May Campbell’s third body
- Ivy Ireland Reviews Steve Armstrong
- Magan Magan Reviews deciBels 3
- Claire Albrecht Reviews Manisha Anjali’s Sugar Kane Woman
- Review Short: Simeon Kronenberg’s Distance
Is it true that somewhere the plum trees have happily blossomed? Yi Saek (1328-1396) (i) bee vertical her flickering eye enlarging hindwing shadows skittering the bright 3rd storey dirt -edged aerie >>> trucks gearing down into dusk’s gold overtones (looping …
Is the contemporary world really as confused and as doomed as it seems? In his latest book of poetry, either, Orpheus, Dan Disney tends towards the affirmative with his ‘elegiac anthroposcenes’ – assaulting scenes of twenty-first century demise – but he does not attempt to grapple with the problem alone. Instead he enlists the help of a stunning amount of other writers and thinkers.
Hannah Arendt clearly noted it: a dog with a name-tag has a better chance of surviving than an anonymous dog. She also noted that the alleged protections offered by legal and moral rights – human or otherwise – would only be made available to those who did not need them. The right to have rights would be stripped from the rest; they would be consigned to the worst.
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? If 20c. English-language poetry can be characterised at least partly as a constellation of non-dogmatic radicalised tropes making response to authorising discourses of power / knowledge, then which impetus remains (if any) to adopt transgression as a foremost rhetorical mode?
The book starts with a full stop. It orders me to stop before I begin. On the next page there is a font that looks like a zebra crossing. It straddles the page spread, white shapes on flat black. I stop, looking hard at the letters to make sense of them, and then realise what they’re saying: WALK WALK STOP! I’ve followed orders; how biddable of me. I move on, turning the page. There’s another black expanse: it says WALK in the same font, followed by a full stop. I guess I have permission to move on. So far, so good.
Poetry for Cordite 56: EXPLODE is guest-edited by Dan Disney. [[EXPLODE from ex– “out” + plaudere “to clap the hands”]] the spectacle Oculus Rift the α in their brickveneerdoms howzat Omid Fazal Reza Hamid Leo Lucky Country megafires Maulboyheenner form …
Matters of identity in relation to land are a major concern for poets writing in Australia. In the introduction to The Penguin Anthology of Australian Poetry (2009) John Kinsella points out that since its earliest forms Australian poetry expresses ‘a sense of urgency about communicating the uniqueness and significance of the Australian landscape, and the relationship between individuals and community and country/place’.
These ten tiny tomes each speak (squawk, swoon, glitch, muse, lyricise, confess) of how there is something not ticking precisely inside the reality machine. Or perhaps these books shine light onto how we’ve all gone slightly spectral within our anthropocenic phantasmagorias, lost and unmoored in an experiment that’s become dreadfully strange. Some of these books turn exclusively toward the world, others perhaps come from particular critical engagements; each serves to extend conversation both on what poets do, and what poems are for.
Christopher Barnett is an enigmatic figure: an exile and outsider, an active and proud Socialist, Australian but long based in Europe because of feeling, as Mark Roberts asserts in the book’s foreword, ‘profound disillusionment with Australian society’ (ix)
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 <
First impression: Yerevan undulates out the semi-desert, ringed with what look suspiciously like nuclear reactors. Flight SU1860 jolts down at (the recently privatised) Zvartnots airport, and we pass a dis-assemblage of passenger jets in various states of stripped-down decay. In …