Tell Me Like You Mean It v5
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- 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
Reading Alice Savona’s Self ie feels a bit like taking a vacation inside a palindrome. It’s a wonderful escape, albeit sometimes fraught with all the rocking movement, backwards and forwards, until you aren’t sure what the runes and symbols that make up the words even mean anymore.
Despite the sorrow of its title, and my heart crumples like a coke can will have an utterly expansive effect on the reader’s beat-box. My little heart almost burst as I read through this collection for the first time. And then the second.
Steve Armstrong’s Broken Ground is an extended walking meditation cleverly disguised as a book of poetry. Inside this collection resides a determined drive towards immersion and a deliberate movement beyond text, into a numinous, continuous cadence: a secret rhythm of stride known only to those who would seek to map out earth and sky.
Confession: I should not have read Michael Farrell’s launch speech for Oscar Schwartz’s The Honeymoon Stage before attempting this short review. I had a large attack of Bloom’s anxiety of influence, but I simply couldn’t help myself because I truly appreciate Farrell’s wit and (worldly) wisdom. And now the damage is done.
Approaching new work from such sharp, prolific and often dazzling poets as Magdalena Ball and Petra White is arguably no job for a quiet morning. Both White’s Reading for a Quiet Morning and Ball’s Unmaking Atoms demand (and duly reward) close attention.
To commemorate the 50th Anniversary of the Newcastle Region Art Gallery (NRAG) in 2007, Lisa Slade and Peter Minter co-curated the exhibition Poets Paint Words. The two curators commissioned some of Australia’s best poets to write poems in response to a selection of paintings held in the NRAG archive.
Dazzling, vibrant and terribly witty, Cassandra Atherton’s Exhumed does not give itself over entirely to the horribly serious, gruesome images invoked by its title. Nor of course does it travel down to the desperate depths of its epigraph’s hero, Rosetti, who (in)famously ‘recovered’ the book of poems he had buried with his wife. Yet Atherton’s collection of prose poems is nonetheless morbidly fascinating and even darkly exhilarating, with some of the more raw, emotionally-fierce poems evoking similar queasy feelings in the twenty-first century reader, perhaps, as the nineteenth-century poet might have experienced recovering writings from the grave of a loved one.
At a first, casual reading, it is easy to see why Jillian Pattinson’s Babel Fish won the 2010 Alec Bolton Prize. Here is a polished and elegant collection, addressing not only the expected emotional and personal depths of the lyric, but also casually marrying art and science with unashamed reference to untouchable greats of literature and, dare I say it, a carefully monitored spirituality.
By way of introduction permit me to share that for some reason I keep conflating this poet’s name with the title of her latest book. The result is a hybrid of name and place, forming a vague ‘place-name’ in the utterly made-up signifier ‘Porchland.’ Working back, this topos, to my mind, alluding to a libidinous, transgressive and, above all, fertile ground, is formed out of the name of the talented poet, Ivy Ireland, and the title of her second collection of poetry, Porch Light, whose eponymous poem quotes Tom Waits in the epigraph: ‘How do the angels get to sleep when the Devil leaves the porch light on?’
Ticket to Ride is a collection of life-moments; a certain ‘true expression’ splash in a muddy world puddle, some shocked morsel of life momentarily caught in the light. They aren’t easy moments, perhaps, but they are strangely beautiful, nonetheless.
Like some piece of technicolour cover-art from a 1950s mystery novel, James Merrill’s Stonington apartment loomed in the background as I stepped out of the gutter-snow and onto the street. I was wearing a bright red coat; the apartment matched the slate-blue winter sky. From the outside, the poet’s house felt as gorgeous and twee as everything else in this tiny – dare I say quaint – fishing village.
‘How do the angels get to sleep when the Devil leaves the porch light on?’ – Tom Waits 1. If you consulted your own cipher-mind (if what presents as yours could be compressed in such a lazy line), would it …