- 109: NO THEME 12with C Maling & N Rhook 108: DEDICATIONwith L Patterson & L Garcia-Dolnik 107: LIMINALwith B Li 106: OPENwith C Lowe & J Langdon 105: NO THEME 11with E Grills & E Stewart 104: KINwith E Shiosaki 103: AMBLEwith E Gomez and S Gory 102: GAMEwith R Green and J Maxwell 101: NO THEME 10with J Kinsella and J Leanne 100: BROWNFACE with W S Dunn 99: SINGAPOREwith J Ip and A Pang 97 & 98: PROPAGANDAwith M Breeze and S Groth 96: NO THEME IXwith M Gill and J Thayil 95: EARTHwith M Takolander 94: BAYTwith Z Hashem Beck 93: PEACHwith L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith C Gaskin 91: MONSTERwith N Curnow 90: AFRICAN DIASPORAwith 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 F Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith V Lucien 80: NO THEME VIwith J Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith K Glastonbury 56: EXPLODE with D 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 P Brown 52.0: TOIL with C Jenkins 51.1: UMAMI with L Davies and Lifted Brow 51.0: TRANSTASMAN with B Cassidy 50.0: NO THEME IV with J Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with T Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with C Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with M Farrell 46.0: NO THEME III with F Plunkett 45.0: SILENCE with J Owen 44.0: GONDWANALAND with D Motion 43.1: PUMPKIN with K MacCarter 43.0: MASQUE with A Vickery 42.0: NO THEME II with G Ryan 41.1: RATBAGGERY with D Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with K MacCarter 40.0: INTERLOCUTOR with L Hart 39.1: GIBBERBIRD with S Gory 39.0: JACKPOT! with S Wagan Watson 38.0: SYDNEY with A Lorange 37.1: NEBRASKA with S Whalen 37.0: NO THEME! with A Wearne 36.0: ELECTRONICA with J Jones
A clothesline dandles rows of vacant newborn jumpsuits. The way I made a life for you and you fell away from it. Worn sheets ghost a whipped branch, swing the wind to haunt me, opening folds of loss and hope. …
The writer Phillip Hoare, celebrated author of The Whale and self-confessed sea obsessive, once wrote: ‘Our bodies are as unknown to us as the ocean, both familiar and strange; the sea inside ourselves.’
The word love is merely a sign that means something like the way to the mountain. Mark Doty, Dog Years What the mountain thinks, you can’t know. When it leans the weight of its shadow on you, tall, how much …
Cover design by Zoë Sadokierski The polka originated in nineteenth-century Bohemia. A dance for two, it is reputedly simple to learn. Three steps and a hop, in fast duple time, with various steps – Turning Basic, Pursuit and Waltz Galop …
This issue began with the idea of an open house and a couplet from Roethke’s poem of the same name:
My heart keeps open house, My doors are widely swung.
It continued with a few openings and closings of the Submittable gate over summer, and wasn’t long before this imagined poetic house had its doors and windows propped wide; its lawns and verandas filled with voices.
Poetry for Cordite 46: NO THEME III is guest-edited by Felicity Plunkett I am interested in the idea of architecture as a way of capturing the place of a ‘no theme’ issue … amidst Cordite‘s many themed ones. In the …
Studying the Sylvia Plath archival papers at Smith College in 1993, poet, editor and critic Felicity Plunkett intuited that a number of pages were missing from one poem draft. Plath assiduously page-marked drafts of the poems that were to become the Ariel poems. Plunkett was unable to uncover these pages in any of the archives made available to her, which were still in the process of being organised. One night, in dream, she ‘receives’ a phone call, made from a black, period-piece telephone, words delivered in Plath’s idiosyncratic trans-Atlantic diction – ‘look in the yellow folder’.
Amidst its many echoes, the idea of a ‘ringing world’ conjures up for me a line from Sylvia Plath’s poem ‘Words’, in which words are axes ‘after whose stroke the wood rings’. This ringing takes the form of words’ echoes travelling off like horses. Late in the poem these horses reappear ‘dry and riderless’ but nevertheless continuing on with their ‘indefatigable hooftaps’.
Whatever one may expect from an anthology of contemporary poetry released by a mainstream commercial publisher – an accessible selection of diverse voices and styles, one for both the non-specialist, general reader as well as the (less snobbish) connoisseur, a selection featuring promising emerging writers as well as more prominent authors, and so on – Black Inc. Publishing’s annual Best Australian Poems Series has been meeting these expectations, more or less consistently, for close to a decade. And despite the series’ many specific strengths and few weaknesses, the latest addition to the series follows the same general tradition successfully.
Cordite Scholarly is a new section of Cordite Poetry Review devoted to peer-reviewed research on Australian and international poetry and poetics. Essays published in Cordite Scholarly are reviewed by at least two members of Cordite’s Academic Advisory Board (or see …
Thirty Australian Poets is a new anthology out of UQP that focuses on the work of poets born after 1968. It’s an intriguing conceit that invites comparison with the work of the Generation of ’68 without actually issuing a challenge per se, but at least prompting a ‘look where we are now’ conversation. Since this constraint naturally excludes both poets who make up Australia’s vibrant live poetry scene (who tend not to be as widely published on the page) and also talented poets whose work may not have yet been collected, the poetry on offer does tend toward the formal.”
Phyllis Perlstone's the edge of everything, which was short-listed for the 2008 Kenneth Slessor Prize, is an imaginative cartography, its careful perceptions laying out ways of looking at the crucial ideas the book returns to: ideas about love and the ways it might fade or be lost; about violence and humanity; about perception itself, and how words work to map its contours.
Watching waves breaking on the shore, the rhythms that emerge are, of course, only part of the larger pattern of the ever-mobile natural world we seem to observe. The poems in Julian Croft's Ocean Island suggest the occluded and multifarious that lies beneath the surface, gesturing towards the tidal, and larger worlds that dwarf human concerns.