- FREE: 20 Poets anthology
- 87: UNPRINTABLEwith J R Carpenter and B Laird (coming soon!) 86: NO THEME VIIwith Lisa Gorton(submit away!) 85: PHILIPPINESwith Mookie L and S Lua(coming soon!) 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
- Review Short: Ken Bolton’s Lonnie’s Lament: Towards a History of the Vanishing Present
- Review Short: Kate Middleton’s Passage
- Alan Wearne Reviews Ross Gibson
- Introduction to Helen Lambert’s Echoland
- Introduction to Siobhan Hodge’s Justice for Romeo
- Introduction to Lindsay Tuggle’s Calenture
- Introduction to Pascalle Burton’s About the Author Is Dead
- SUBURBIA Editorial
- Ghost Flowers in the Word Machine: Poetry, Pessimism and Translation in the Age of Technology
- ‘a homemade world’: On the Dandenong Line
- Ken Bolton’s Suburbia, an Introduction
- No Safety, No Submission? A Survey of New Zealand Small Presses
- Wright Vociferous – ‘Birds’ and ‘Skins’ – Physiognomy, Identity and the Wild Spoken Word
- But Why Am I Telling You this? You Are Not Even Here: Against Defining the Suburb
- 12 Works by Lara Chamas
- 4 Machines by Robert Andrew
- Five Translated Eileen Chong Poems
- Two Translated Kim Yideum Poems
- Four Translated Geng Xiang Poems
- ‘Refusing to be published, refusing even to perish’: Amelia Dale Interviews Ouyang Yu
- ‘Myth is not merely decorative’: Prithvi Varatharajan Interviews Michelle Cahill
- Sandra D’Urso Interviews Fiona Hile
- ten atmospheres
- The Lowlands (West Melbourne Swamp)
- Stony Creek
- Moonee Moonee Chain of Ponds
- Walking West
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 …