- 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: 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
- drawn, made.
- My Mothers, the avian …
- My Dream of Gary Snyder
I have been reading Coleridge on dreams -in an email to the author from Lisa Gorton) I dream that the dead are living. Katharine says soft dreams where the loved dead seem reciprocal and living are really nightmares to suffer, …
Lachlan Brown called, in an interview with Fiona Wright, a quote from my essay The Suburban Problem of Evil his favourite one on the Suburbs: saying I said, “nowhere else can the eternal and the eternally reversing dialectic between icon …
World of Feelings: Ghassan Hage, Bruce O’Neill, Magic Steven and the Affective Dimensions of Globalisation
Stefanie Bennett woke up alongside Jennifer Maiden one morning, remarking, ‘An enemy is nothing to sneeze at: / Often his eau-de-Cologne’s / All embracing’ (‘Stratum’). This might be the too-cute, not-clever start to an amalgamating take on these two books from two poets with similar concerns and different styles.
George Jeffreys woke up in a sand lagoon on a Wollongong beach on his back. He had just relaxed enough to close his eyes, when a group of holidaymakers grew concerned above him, debating if he’d died. George reached warily …
Jennifer Maiden’s Drones and Phantoms opens with ‘Diary Poem: Uses of Live Odds’, a poem that juxtaposes – in a way characteristic of Maiden’s intensely synthesising work – politics, aesthetics, and gambling. Poetry, of course, is a kind of gamble, one in which the stakes are at once ridiculously low (financially speaking) and ridiculously high (personally speaking). Writing a poem – like any creative act – is a risky venture. One’s subjective experience of being creative never fully underwrites the created artefact. And as a communicative act, poetry runs the ever-present risk of obscurity and/or inconsequence.
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.
The great basso profundo Vladimir Miller explained that the reason Russia loves the bass voice is that there are no musical instruments in Church so that the profoundly resonant singer holds the sound of the choir together. When I mention …
John Tranter, renowned Australian poet and occasional but incisive chronicler of the driving forces behind those Australian poets now classified as ‘The Generation of ‘68’ once wrote that the ‘Generation of ‘68’ was all about:
‘not the replacing of the old by the new (which soon becomes the established), but by the continual recognition of the need to ‘make it new’, to break down the urge to establish reputations and an entrenched position.’
Anecdotes surround Vicki Viidikas. None is definitive.
“Andrew Sayers, director of the National Portrait Gallery, wrote of my work, ‘Trust is an important quality in portraiture. Trust is self evident in Juno Gemes’ photographic portraits’. The portraits published here were created in trust with literary friends.”
Pirate Rain by Jennifer Maiden Giramondo Publishing, 2010 Since Jennifer Maiden began publishing in the early 1970s, her work has been charged with a commitment to frame the ethical challenges presented by manifestations of evil. It’s a commitment that was …