- 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 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
- Prithvi Varatharajan Reviews Arvind Krishna Mehrotra
- Phillip Hall Reviews Quinn Eades and Gabrielle Everall
- Alex Kostas Reviews Dina Amantides, Anna Couani, Zeny Giles, George Vassilacopoulos, Erma Vassiliou and Dimitris Troaditis
- sun square on stomach
- MATHEMATICS Editorial
- Nighthawk, Part 1: Use of Additive Sequences for Generating a Cut-up Poem
- FOB: Fresh Off the Books
- The Ocean’s Tide: Parentheses in Kamau Brathwaite’s and Nathaniel Mackey’s Decolonial Poetics
- A Poetics of a Politics
- Three Translated Samuel Trigueros Espino Poems
- Sticker Lady’s Tales of the First World
- ‘I have never understood a single poem’: Chi Tran Interviews Mei-mei Berssenbrugge
- ‘A Fable for Now’: Kate Fagan Interviews Lyn Hejinian
- ‘through worlds & worlds & worlds’: Joan Fleming interviews Jordie Albiston
- Innocent Eyes!: Ekphrasis and the Defiant Multiplicity of the Female Gaze
- from Numbers
- Queer Modes: New Australian Poetry
- How to Make Whips
- mMouth hHouse pPanic cCathedral
- in this community
- Garden Musings
- Sometimes we meet in hotels
A great many Australian poets are in an interesting and ironic state of dispossession, although perhaps only a small proportion of them actually feels that way – that proportion, let’s say, whose subjects and predispositions draw them towards the landscape, its flora and fauna, and their human experience thereof and thereupon.
As I began this essay on J S Harry’s poem ‘Tunnel Vision’ several years ago (2006) the radio drive shows in Sydney were full of opinions, mainly angry, concerning a report that a male teacher, in an English class, encouraging students to find as many words in ‘Australia’ as they could, had led the way by showing them how it contains the word ‘slut’, and then, when asked what that meant – it must have been a young primary-school class – had told them that it was a word used to describe women.
Australian poetry reminds us that we cannot encounter the natural world except by cultural means. As Tom Griffiths writes, the idea of the natural world as a ‘cultural landscape acknowledges that an area is often the product of an intense interaction between nature and various phases of human habitation, and that natural places are not, as some ecological viewpoints suggest, destined to exist as climax communities or systems untouched by human hands’ (1996, p 277).
Winner: ‘Precedent‘ by Andrew Last That rare thing: a non-ponderous sonnet sequence full of surprising imagery, humour and light touches. The poet is obviously at home with the form, the way they vary stanzas and run meaning from one sonnet …
In Open House, David Brooks makes it look easy. These poems appear to be simply set down, flawless panes of glass framing scenes from a life. For the attentive reader, however, even one who doesn’t know the extent of Brooks’s work as a poet, a novelist, an editor, a translator, a researcher and writer of books about other poets and poetries, there are clues to the years of deep thinking, constant writing and serious, engaged living that Brooks brings to his own practice.
John Kinsella is an Australian poet with a high profile and a long record of achievement, including winning the 2013 Prime Minister’s Literary Award for Poetry. He is also an assiduous anthologiser. Most notably, he edited The Penguin Anthology of Australian Poetry (2008), one of the more successful of recent attempts to establish an indicative canon of Australian poetry (although this was not, perhaps, Kinsella’s avowed intention with that book).
When I approached major Indonesian poet Sapardi Djoko Damono – godfather of that sprawling nation’s contemporary poetics and a renowned translator of English-language works into Bahasa Indonesia – about working with me on a kind of ‘translation exchange’ to then …
The Sons of Clovis: Ern Malley, Adoré Floupette and a secret history of Australian poetry by David Brooks University of Queensland Press, 2011 ‘Ern Malley? Again?’ asks David Brooks at the outset of this new reading of what is, arguably, …
The Balcony by David Brooks University of Queensland Press, 2008 In a review originally published in Heat #6, David Brooks praised Peter Boyle’s The Blue Cloud of Crying as being influenced by the tradition of Cante Jondo or deep song, …
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.
Each virtue responds to a specific form of innocence. Innocence is moral instinct. Virtue is prose, innocence is poetry. – Novalis Long before Romanticism, poetry was thought to whisper with a sound which was the sound of Nature purified; poetry …