- FREE: 20 Poets anthology
- 93: PEACHSUBMIT to L Van, G Mouratidis, L Toong 92: NO THEME VIIICOMING SOON with C Gaskin 91: MONSTERwith N Curnow 90: AFRO AUSTRALIANwith 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
- Introduction to Zenobia Frost’s After the Demolition
- Phillip Hall Reviews Robert Harris’s The Gang of One: Selected Poems
- Adam Ford Reviews Rae White’s Milk Teeth and Anders Villani’s Aril Wire
- Jennifer Mackenzie Reviews Elif Sezen’s A little book of unspoken history
- Introduction to Charmaine Papertalk Green’s Nganajungu Yagu
- Brigid Magner Reviews Michele Leggott’s Vanishing Points and Elizabeth Smither’s Night Horse
- Jack Kelly Reviews Liam Ferney’s Hot Take
- Submission to Cordite 93: PEACH
- Introduction to Cordite 91: MONSTER
- Poetry, Whatsoever: Blake, Blau DuPlessis, and an Expansive Definition of the Poem
- On Being Sanguine: Two Years of Panic and a Response to Terror in Christchurch
- A Deaf Rough Trade: Defending Poetry to ‘regular people’
- 12 Panels by Chris Gooch
- 5 Translated Yosuke Tanaka Poems
- A Buzz in the Retina: On Translating Luljeta Lleshanaku
- ‘That is some crafty bite’: Trisha Pender Interviews Melinda Bufton
- ‘You’re never disembodied from the action’: Dylan Frusher Interviews Judith Beveridge
- Excerpts from Neon Daze
- Chorography and Toute-eau in the Waters of Lower Murray Country
- 6 Poems from Robin M Eames
- Aussi / Or: Un Coup de dés and Mistranslation in the Antipodes
- Every other Friday
- I Still Love Without My Head
- Heath Ledger’s Joker
- Only fair
In a dress, in a dream your guide points out carvings, a well to kick. Sissy mountains slope to ground. His fans bay in the church of Perpetual Succour. Plane to the apron, a rook abed, to swindle and jack. …
In a book on comedy, philosopher Alenka Zupančič has inadvertently discovered the key to the correlation of late twentieth century Australian poet John Forbes’s mastery of cultural imitation and his deconstruction of the mechanics of national identity so often queried in his work. Zupančič, infusing Friedrich Nietzsche, Henri Bergson, Gilles Deleuze, and Jacques Lacan, in a consideration of the relations assumed to exist between the vital and the mechanical, develops a theory of the comic as the maker of a ‘miraculous fluidity’.
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.
There is a photograph I have returned to several times. It was taken during the drive from Melbourne to Perth, at the petrol station which marks the town of Nullarbor, while Lucas was filling our tank. In it, a storm front is approaching, the sky a deep violet-blue which emphasises the red scrub of the plain and the bright yellow of a limestone road skirting round behind the buildings and out of sight, blocked by a makeshift white fence and hand-painted red ‘no entry’ sign.
It fascinates me, this image, in the same way the experience of the place did in the moment I took it.
1. You’re not to this world but will sleep in the depths of dream, pat news, cast chat, as tenants grind chemistry’s waved night to a flask and galaxies ping time back to tree-thrilled square, or cross the lake tomorrow …
Collected Works Bookstore, Wednesday 6 May, 2015 I will begin with a bit of spontaneous resentful metaphysics. I am sorry to do so, for a number of reasons, but there we are. If it can be justified at all, it …
Vicki Viidikas’s first book Condition Red (UQP, 1973) – which most likely took its title from Kubrick’s Dr Strangelove (1964) in which Condition Red means war – burst with unsettling depictions of contemporary life and the status of women, a …
‘I never much liked the pictures, starlit, gauzy, a crank hand dealing largesse it didn’t have scrunched skies and foreground sentimental dogs like my great-aunt’s china doorstops …’ Disconcerted at exchange, he returns to his vignette, and last week’s salve …
Cover design by Zoë Sadokierski
John Hawke’s forensic inquiries in this book are layered with casual erudition – Diderot, Czech poet Vladimir Holan – and locate the poem as transformative state. Many of these poems conclude with a mystical ascent into nature, reminiscent of Patrick White scenes in which the division between consciousness and the universe wavers, signifying that any reconciliation is epiphanic, claimed by art or religion. Yet nature belittles human effort – ‘The path to the point is marked by a scattering / of impermanent hand-made memorials’ – that is, the poet’s endeavours are precariously, though heroically, makeshift, overlaid; but nature is also that which threatens or devours, ‘digesting light’.
Technique whittled to a spear prongs earth as tabby night filters a soaped waterfall of recollected words jammed in a shoe, prudently It passes on a cloud and can’t fit in the photo that dissolves trusty leaves that feather bright …
Elegy intensifies around the objects that remain, those keepsakes that must signify a spent life. In Kate Lilley’s Realia, the first poem ‘GG’ is an auction listing from Greta Garbo’s estate in which the repetition of Garbo’s name intones like a docked requiem. Only things exist timeless, immutable, saleable, as shining representatives of the once-living. Life’s fraught event is reduced to its acquisitions, and transformed, satirised, into capitalism’s ultimate wearer of labels: the former consumer of commodities is now more amenably cast purely as a selection of those objects, whose value her absence increases.
Conjoin | Hannah Raisin and Will Heathcote | Archival pigment print | 75cm x 50cm There is No Such Thing as a Good Poem about Nothing Nicolette Stasko: Sendai Tracy Ryan: Companion Poems from the French Elzbieta Wójcik-Leese: everything in the …