- FREE: 20 Poets anthology
- 89: DOMESTIC with N Harkin(submit now!) 88: TRANSQUEER with Q Eades and S Barnes(coming soon!) 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 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
- Garcon-Mills on as Indigenous Engagement Editor and Guide for Indigenous Editing and Writing
- Reality On-demand
- What We Know About Her
- Winners for the Val Vallis Award for an Unpublished Poem 2018
- Review Short: Cary Hamlyn’s Ultrasound in B-Flat and Other Poems and Jill Jones’s The Quality of Light and Other Poems
- Review Short: Judith Bishop’s Interval
- Liam Ferney Reviews Kate Lilley and Pam Brown
- Submission to Cordite 89: DOMESTIC
- Review Short: Corey Wakeling’s The Alarming Consevatory
- Daniela Brozek Cordier Reviews Dominique Hecq
- Introduction to DIFFICULT
- An Unwitting Pariah: Kathryn Hummel in Conversation with Kaiser Haq
- Four Translated Vasile Baghiu Poems
- Why Reading Sharon Olds Makes You a Better Person
- Two Translated Marcos Konder Reis Poems
- The Unaugmented Reality of Transgender Discrimination: ‘Do more, do better’
- Experimental Confessionalism: The Personal Turn in American Post-conceptual Poetry
- Punk Calligraphy: A Primer on Asemic Writing and Scribbles
- What the Repetitions of Poetry Might Help Us Remember about Home, Belonging and the Self
- Sonic Twin? A Poetics of Poetic Radio
- 11 Works by Paola Balla
- Do more, do better
- 11 Works by Hoda Afshar
- forgetting as commodity
- Gathering the Rocks
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 …