- FREE: 20 Poets anthology
- 88: TRANSQUEER with Q Eades and S Barnes (submit now!) 87: DIFFICULTwith O Schwartz and H Isemonger(coming soon!) 86: NO THEME VIIwith L Gorton 85: PHILIPPINESwith Mookie L and S Lua 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: Oscar Schwartz’s The Honeymoon Stage
- Review Short: Philip Mead’s Zanzibar Light
- Carmine Frascarelli Reviews Nguyễn Tiên Hoàng
- Review Short: Therese Lloyd’s The Facts and Helen Heath’s Are Friends Electric?
- Review Short: Selina Tusitala Marsh’s Tightrope
- Review Short: Charmaine Papertalk-Green’s and John Kinsella’s False Claims of Colonial Thieves
- Review Short: Andy Jackson’s Music Our Bodies Can’t Hold
- Review Short: Rachael Mead’s The Flaw in the Pattern and Philip Nielsen’s Wildlife of Berlin
- Johanna Featherstone Reviews History and the Poet
- Submission to Cordite 88: TRANSQUEER
- Review Short: Shastra Deo’s The Agonist
- Review Short: Tracy Ryan’s The Water Bearer
- Review Short: Bulky News Press Chapbooks from Andrew Pascoe, Chris Brown and Marty Hiatt
- Review Short: Susan Hawthorn’s Dark Matters
- 12 Works by Sue Kneebone
- Introduction to NO THEME VII
- Bone Shame: Grief, Te Ao Māori and the Liminal Space where Translation Fails
- Re-imagining Place: A Psychogeographic Reading of Carmine Frascarelli’s Sydney Road Poems
- ‘Geelong checks its modernist warranty’
- John Ashbery’s Humane Abstractions
- Shattered Writing: Four Translated Valerie Mejer Caso Poems from Edinburgh Notebook
- Four Translated Laia Llobera i Serra Poems
- ‘We mirror what we see’: Holly Childs Interviews Cristine Brache
- President Donald J Trump at the Western Wall, Jerusalem 2017
- Diary Poem: Uses of Dreams
- Neutral Bay, New South Wales
- OK GOOGLE
It’s a neat twenty-five years since Jill Jones’s first book, The Mask and the Jagged Star, was published and in that time she has built for herself a reputation as a serious and ambitious poet whose work demands, and generally rewards, close reading. She is certainly not a poet of easy gestures or flashy effects.
So often reproduced and yet the message so elusive. John Woodcock Graves the younger, lawyer, writer, poet, ‘friend’, is standing high beside her, not quite profile, looking down, frock coat reaching to his knees. Truganini, Trugernanner, also known as Lalla …
These 41 pages from a revived Eaglemont Press (once run by the late, revered Melbourne poet, Shelton Lea) contain the first collections (or first half-collections) of Lea’s much younger fellow-Melbournians, Amanda Anastasi and Robbie Coburn. It’s analogous to two good friends buying a very small inner-city flat to get a toe-hold in the daunting real estate market of that city. Bigger things are sure to come later.
Geoff Page is a well-known figure in the Australian poetry scene: a prolific writer with over twenty books to his name and an established editor (recently of the 2014 and 2015 Best Australian Poems), yet perhaps known most widely as a reviewer. A regular feather-ruffler, Page’s reviews frequently appear in prominent publications such as the Age and the Australian. Page’s trust in, and loyalty to conventional verse forms is no secret; he often takes aim at more experimental or avant-garde Australian works, as if such attempts to broaden the field of Australian poetics are to be regarded with some suspicion.
Adelaide poet, Mike Ladd, is best known for his long-running Poetica program on the ABC’s Radio National (eighteen years all up before its casual destruction in 2014). The breadth of taste and openness to a wide range of influences Ladd displayed in Poetica is also to be found in Invisible Mending, his first poetry collection since Transit in 2007.
Australian poetry, and indeed poetry in Australia, always seems to be undergoing something of a personality crisis. From the bush ballad to Angry Penguins and beyond, Australians have a knack for producing poetry, and a unique language from which to create it, but it’s a cottage industry. Even ‘industry’ seems too strong a term for what Australian poetry produces, though we have (and have had) no shortage of skilled writers working at various levels of poesy and doing remarkable things.
Dennis Haskell’s new selected is part of an interesting trend. In the past few months three other Australian poets (Adrian Caesar, Jan Owen and Robyn Rowland) have also had books published overseas that, in more congenial times, might well have been published here. In each case there’s a plausible explanation but it’s an interesting phenomenon even so.
Sometimes in your later years it is enough to read the titles only. shorthand for the contents you cannot quite recall. The sleety ironies of Philip Larkin, say, a flatness everybody knows but he defined, bending to his bike-clips. Wallace …
Being in and of one’s time (in favour of it, in fact) means producing work that is sensitive to the discursive furies of the day – the atmosphere of mutating code that the poet must stick to poems in new and strange forms. All else is nostalgia and denial. No-one knows what it means that Australia’s imperial republic, whose god has finally been revealed as cosmopolitan capitalism, is, in the history of colonies, still in its infancy yet so impressively seems to be approaching an end of days. If you’ve got burnt chaps and a warm six-shooter (cowgirl), these are exciting times.
John Kinsella’s latest foray into what has become known as ‘ecopoetics’ raises many more aesthetic and political questions than can be resolved in a short review. As in his Divine Comedy: Journeys Through a Regional Geography (2008), Kinsella makes vivid and considerable use of autobiography. He and his family are presented as embattled eco-pioneers in a region already much destroyed by bad farming practices, partly multi-national in origin, and roamed over at will by township hoons ready to shoot up anything that moves.
1909 — 1956 The legends and the anecdotes are only half of it; Charlie Parker early on, night-club kitchen, washing plates just to hear the sound then saying as saxophonist ‘I wish I could play like Tatum’s right hand’; the …
We watch them sitting down beside us, (she, the latte; he, long black) and see them splitting up the paper (he, the sport, and she, the crossword). Five or forty years ago, we would have seen them leaning inwards antiphonal …