Ella O’Keefe



Interview with Sidney Nolan (Ella O’Keefe edit)

Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether birdsong, traffic or an r&b song playing in the background.

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Interview with Laurie Duggan (Ella O’Keefe edit)

Image courtesy of Australian Poetry Library Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether birdsong, traffic or an …

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culture afloat

this torch requires an evaluation flash of soft politician gums hatless creampuff wearing sunglasses to the inquiry pecuniary metric conversions of a scout hall footage choose 4 nights on the celebrity solstice where a tasteful program of classic dramas will …

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Interview with John Forbes (Ella O’Keefe edit)

John Forbes | by Juno Gemes Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether birdsong, traffic or an …

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Interview with Dorothy Hewett (O’Keefe remix)

Dorothy Hewett | Ali Burns | The Hoopla | 2015 Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether …

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Interview with Brett Whiteley (O’Keefe remix)

‘Brett Whiteley at Baudelaire’s Grave, c. 1989’ | by Unknown | gelatin silver photograph | 14.3 x 9.3cm | National Portrait Gallery, Canberra Gift of Patrick Corrigan AM 2010 Hazel de Berg’s recordings take place in the homes or work …

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F in the Mirror

wonderful figment of cotton & boots I think of you when the shape shifts it could be a woman or a dog next to the man on the grass for an unreasonable duration it is a doubled creature, girlhound made …

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Shared Piazza

two women in the room thinking different things at the same time she takes the pen from her friends’ grasp installs a brush well what do I do with that? all of Minneapolis outside the door will have to wait …

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O’Keefe on as Audio Producer

Cordite is chuffed to announce that Ella O’Keefe will be our inaugural Audio Producer, and lends a stack of audio production knowledge to the journal. We’re already beavering away on detail for our first 20-30 minute program.

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Ella O’Keefe Reviews Claire Gaskin

Paper WeightIn Paperweight, her third full-length collection, Claire Gaskin shows her talent for observing fluctuations in the state of things – personal, political and environmental. Within this, she does not turn from the darker corners of the human psyche. ‘Just do the best you can’ opens with a frank acknowledgement of mortality: ‘your death keeps growing/or your life keeps contracting’.

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Review Short: Luke Beesley’s Balance

BalanceThe poems in Luke Beesley’s Balance, like Siobhan Hodge’s work in Picking Up The Pieces, tend towards brevity (with a few exceptions). In Hodge’s case we might consider this quality in relation to fragments, where the body and the reader’s attention is cut-up. Reading Beesley, the encounter is one that is instead cut-off – that is to say that this is poetry attuned to the momentary and to the sensing body moving through the world.

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Review Short: Siobhan Hodge’s Picking Up the Pieces

Picking Up the PiecesPicking Up the Pieces is a compact debut of eight poems from West Australian poet Siobhan Hodge. Its publisher, Wide Range Chapbooks, is a Cambridge based small press run by John Kinsella. Wide Range publishes poets such as Redell Olson, Rob Mengham and Drew Milne mixed in alongside young and emerging local poets, many of them students like Hodge (who in 2012 undertook a research residency in Cambridge). The collegial spirit of Wide Range and the relatively modest production values – Hodge’s book comes stapled in a photocopied card cover – suggests a publishing model that favours immediacy and ease of circulation, in a town where poetry and thinking are a constant activity.

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