- FREE: 20 Poets anthology
- 94: EARTHSUBMIT to M Takolander 93: PEACHCOMING SOONwith L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith 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
- Submission to Cordite 94: EARTH
- NO THEME VIII Editorial
- ‘A means of resistance’: Susie Anderson Interviews Alison Whittaker
- 10 Works by Richard Bell
- Shipwrecks in Modern European Painting and Poetry: Radical Mobilisation of the Motif as Political Protest
- 4 Self-translations by Danijela Trajković
- Brutalism: Poems by Alex Creece
- Imperfect Growth: a Travel Log
- 4 Translated Kim Seung-hee Poems
- Residence: Dwelling with The Shards (an essay)
- The Shards
- in yr swimming pool
- Sonar for Conception
- The slow clock
- nanny on the water
- Vernal Funks & Bluffs
- I’d Have Called Her Sooner
- Call of Summer
- Sunday, call me a squid
- Mother Bird
- The Wrong Colour
- Milk River
- House fitting : surprisingly
Jacinta Le Plastrier
Image by Tim Grey Presented by Cordite Publishing Inc. and Australian Poetry, and hosted by poet Toby Fitch, this workshop at the 2016 Emerging Writers’ Festival will open your eyes to the potential of the poem on the page. By …
Australian poet Sarah Holland-Batt, b. 1982 in Queensland, grew up in Australia and America and also writes fiction and criticism. She was a Fulbright Scholar at New York University where she attained an M.F.A, and is currently a Senior Lecturer …
Analogue Bodies is a collection of essays by Tom Lee, materialised as set of illustrated books by Zoë Sadokierski. The project looks at different parts of, and events within, the human body and historical ways of depicting and making sense of them. It aims to humour and, on its day, to educate. It was presented as part of the recent Emerging Writers’ Festival 2014 at the Wheeler Centre.
Image of and by Nicholas Walton-Healey Land Before Lines is a book from Melbourne-based photographer and writer Nicholas Walton-Healey. The 144-page, full-colour volume (the images appear in black and white here for page recall considerations) features portraits of 68 Victorian …
Melbourne-based Benjamin Laird writes computer programs and electronic poetry, which he discusses here in the first of a new, occasional blog series looking at the writing practice of contemporary Australian poets.
‘This machine surrounds hatred and forces it to surrender’ were the words inscribed on the banjo of American folk legend and activist Pete Seeger, who died at 94 in late January 2014. Reading the tributes to Seeger, I was struck by a recurrent theme: his moral courage, which he lived out unrelentingly across a lifetime. Commenting on the ‘not common behaviours’ which made his life exemplary, a New Yorker post by biographer Alec Wilkinson wrote of ‘his insistence on his right to entertain his own conscience’.
I’m sitting in the Rare Books room of the State Library of Victoria, lost in time and strangely joyous as I encounter one of its new acquisitions, the late 2012 ‘artist’s book’ and collaboration between poet Robert Adamson and well-known …
Among the most extreme, in the sense of horrific, writing places for poems bequeathed to us would be the conditions in which Ezra Pound produced The Pisan Cantos. There is some speculation as to the exact number of those Cantos …
Since it began 23 years ago, the Internacional de Poesía de Medellín has grown to become a major poetry festival in the world, in a country riven by 50 years of civil war. This year’s Festival (6-13 July) coincided with a new round of peace talks in Havana between the Colombian Government and FARC, and FARC rebels reportedly fighting security forces in the mountains. The Festival featured Australian poet Les Wicks, who reports on his experience below. The Festival has also ‘grown’ up alongside seismic changes for the city of Medellín, Colombian’s second-largest and once described as the ‘most violent city in the world’ (Time, 1988), due to its brutal cocaine drug-cartel culture.
So much has happened to poetry since Sylvia Plath completed her last poems fifty years ago in 1963 that it might seem weird or regressively sentimental to focus back on them. But, encouraged to do so by a number of anniversary events around the globe this year, what strikes is the endurance of these final poems’ brutal clarity.
Cordite Poetry Review has three new names to welcome into the fold – Jacinta Le Plastrier, Judith Beveridge and Keri Glastonbury. Jacinta Le Plastrier is a Melbourne-based writer, poet, editor, publisher and journalist. She is now Cordite’s blog editor as …
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’.