- 84: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 83: MATHEMATICSwith Fiona Hile (coming soon!) 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
- Review Short: Brian Castro’s Blindness and Rage
- LAND Editorial
- The Land as Breath: Can Poetic Forms Be Metaphors for Landscapes?
- Concrete: A Shikoku Pilgrimage
- World of Feelings: Ghassan Hage, Bruce O’Neill, Magic Steven and the Affective Dimensions of Globalisation
- Un(dis)closed: Reading the Poetry of Emma Lew
- Architecture, Poetry and Impressions of a Bendigo Chinese Doctor, James Lamsey
- Possession, Landscape, the Unheimlich and Lionel Fogarty’s ‘Weather Comes’
- Placeways in the Anthropocene: Phyllis Webb’s Canadian West Coast
- 12 Pigment Prints on Paper by Tony Albert
- ‘a serpentine | Gesture’: The Synthetic Reconstruction of Ashbery’s Poetic Voice
- Vorticist Portraiture in Mina Loy’s Anglo-Mongrels and the Rose
- Petrus Augustus de Génestet’s ‘Peaen to the Netherlands’
- Three Translated Takako Arai Poems
- Three Translated Nguyễn Man Nhiên Poems
- Four Translated Gerhard Fritsch Poems
- Rattling the Forms
- Arraignment Song
- Archiving the Present: Ivy Alvarez Interviews Conchitina Cruz
- ‘The concept of risk is intensely personal’: Jonno Révanche Interviews Hera Lindsay Bird
- signs of impression
- Trompe l’oeil
- Upon a Shot Star
- Final Hours, Sputnik 2
- The Old Fort at Grennan
- Karma Bin
- slippage (un)fixed
In 1966 John Ashbery published Rivers and Mountains. The departure from the fractures of The Tennis Court Oath (1962) are immediately apparent: it is a return to a language still distinctly marked by Ashbery’s usual probing and misdirection, but without the direct dislocations committed to denotative meaning, form and syntax in the earlier book.
The arrangement of the title on the front of Edric Mesmer’s Of Monodies and Homoph-ony gives the reader an early opportunity to judge (or, at least, predict) the develop-ment of the text:
dies & homo
Mesmer takes two words that essentially indicate a single, dominant – or closely related – voice or sound, and breaks them down into their constituents. At the very level of the word itself this undoes any such notion of an isolated predominant melody.
I should be working I’m reading in the State Library instead it’s close enough though distant like the skylight in the State Library & decibels heard but barely the author would rather drink (as I would if Sydney was a …
‘Glitching,’ sharp and immediate, is a – word that sounds like it belongs to this modern internet and computer age: moments of fracture as a website struggles to load, fragmented by popups, weird demands of your exact location and the failure of Flash to connect properly. It suggests twitching and distorting monitors, the crackle of an old modem and illogical videogame surrealism, frustrations and interruptions ‘Not of substance but of form’ (‘entheogen’).
Ken Bolton and B.R. Dionysius emerge from different traditions, respectively: a New York School sense of everyday occasion punctuated by the presence and shaping forces of contemporary art (Frank O’Hara and James Schuyler are clearly present in Bolton’s diction); and a modernised kind of Romantic pastoral, littered with juxtaposed objects of the natural and contemporary world. Yet, at admitted risk of over-generalising, both of their recent books can be seen to be dealing with notions of how to write memory in poetry: how to write a poem to be honest to the process, even the implication itself, of remembering. How can language be used in the service of this retrospective vision, they ask; how does language, shaped by differing poetic forms, illuminate, distort or neutralise it?