- FREE: 20 Poets anthology
- 88: UNPRINTABLEwith J R Carpenter and B Laird (coming soon!) 87: DIFFICULTwith O Schwartz and H Isemonger(submit away!) 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: 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
- The Photographs
- How Mirror Stores Operate
- Invasion Day 2
- Should go outside more
- Letters to Accompany Four Movements for Two Pianos
‘Give we the hills our equal prayer, Earth’s breezy hills and heaven’s blue sea; I ask for nothing further here But my own heart and liberty.’ Emily Brontë Ask everything more of layout under pressure. Ask for depths outside and …
When delivering a thesis presentation based on rethinking the methodologies for reading Aboriginal Australian poetics, a fellow postgraduate student asked me, ‘Do you consider your thesis political?’ I was momentarily floored. It was a question I had expected, and yet had not been adequately prepared for. In fact, as it turned out, the question was meant sincerely.
Fruit is the apogee of the pastoral. It’s what the work, the waiting, the ritual and the thanks are for. But the making of fruit is costly and even the ‘natural’ cycle of things will be managed so some factors are privileged over others. In this cycle of post-lyrical poems, Hall questions the form and circumstances of these factors. What are they?
18/9/2015 Rosewood, Schull, Co. Cork, Ireland
Difficult and full fortnight of work coming up before I have to travel solo to London on bus, ferry and train.
Influenced and shaped by some fifty years of Indigenous poetry in English, the last couple of decades of Australian settler poetry have advanced prolific attempts to ‘write (oneself) into the country’ (Van Teeseling 209): producing varied and sometimes radical poetries of regionality, topography, climate, and the histories, narratives and landmarks running through and over them. I contend that such contemporary work by settler poets presents a continuum – varyingly compelling attempts to write in the presence not only of Indigenous poetry, but also colonisation’s ongoing effects and of un-ceded Indigenous sovereignty.
The poetry of John Kinsella will need little introduction in a forum such as this, though with the recent publication of his Drowning in Wheat: Selected Poems, aspects of Kinsella’s biography move more meaningfully into focus. Author of over forty books, Kinsella’s writing career spans three decades. What with the wealth of material available to him, Kinsella and his editors might have been spoilt for choice; though how to bring this wealth into a general coherence?
As Feature Reviews Editor and sometime reviewer for Cordite Poetry Review it is an unusual (and therefore fun) privilege to consider a title in which poetry is critically addressed in the company of other forms. Too often it is it either quarantined within poetry-only criticism, or mentioned as an embarrassing aside to discussions of prose.
Australian poetry reminds us that we cannot encounter the natural world except by cultural means. As Tom Griffiths writes, the idea of the natural world as a ‘cultural landscape acknowledges that an area is often the product of an intense interaction between nature and various phases of human habitation, and that natural places are not, as some ecological viewpoints suggest, destined to exist as climax communities or systems untouched by human hands’ (1996, p 277).
I think making comparisons between Lisa Gorton’s The Life of Houses and other writers is somewhat distracting of the novel’s achievement. If there was another novelist who came to mind during my reading of this novel it was actually Virginia Woolf, though this was in a distant modernist way, and echoed my reading of To the Lighthouse of almost thirty years ago. (As I write, my partner Tracy Ryan, calls out from her study and reads a piece to me saying Lisa Gorton herself draws this link to Woolf – which I didn’t know when I read the book and thought it.)
In the first rabbit poems by the late J S Harry, her rabbit-character, Peter Henry Lepus, is thrown into a number of desolate or alien environments. Peter is ‘dumped … on the Desert of Sense’, ‘comes to … FORTY-THREE BLENDS / OF DUSTED-OFF & SUNDRIED RATIONALISM’, and ‘gets lost in “Calcutta” / on his way to visit Farmer McGruber’s vegetable patch.’ He is displaced most comprehensively in the middle of Iraq, 2003, a warzone that amplifies his naïve and interlopic perspective. Such meaning-deprived contexts let Harry explore belonging, identity, and the stability of concepts themselves. In the poem, ‘Small & Rural’, for example:
Strung out goes hard wired into the signature scarring so shown on arching barks as sampled tolerance slurs and ligatures, he shall have music wherever he goes to stack accumulating pocket money with foxed gatefold and the bells on his …
Like the country’s arid interior, contemporary Australian ecopoetics is vast and robust. The expressions of Australian ecopoetry are as varied as the antipodean landscape itself, underscoring the intricate connections between language and ecology in this part of the world. The Mediterranean climate of Western Australia’s southwest corner, the Red Centre of Uluru, the tropical rainforests of Queensland, the temperate Tasmanian old-growth forests and the alpine reaches of the Victorian High Country signify this: rather than a contiguous desert or a terra nullius (as some readers both inside and outside of Australia may still believe), the Australian environment is a mosaic of biota, climates, topographies and regions.