- 102: GAMESUBMIT with J Maxwell and R Green 101: NO THEME 10COMING SOON with 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
Images courtesy of Jeanine Leane and John Kinsella. From now, and throughout 2021, we’re celebrating 25 years of publishing. Milestones include the publication of Cordite Poetry Review’s 100th issue in February, Cordite Books’ 40th print title, and the new free …
All the sulphur of experiments and gardens of explosions and purifications, the Golden Splash Tooth the subceracea light of the shades and the damp and the sun’s show-through the mimicry of light and shadow-skin. Sun’s action is beneath away from …
While these pre-federation tropes of settler colonial Australia’s multifaceted and at times contradictory pastoral modes seem to recognise something of their incompatibility with Aboriginal land, they seek their resolution from burial, rather than reciprocal encounter with Aboriginal presence.
False Claims of Colonial Thieves weaves together two disparate voices, Charmaine Papertalk-Green and John Kinsella, in a demanding collection that reaffirms the troubling environmental era we are living through. Structurally, the book shifts between traditionally oppositional views – an Aboriginal woman and a white man.
‘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?’
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.
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.
I think making comparisons between Lisa Gorton’s The Life of Houses and other writers is somewhat distracting of the novel’s achievement.
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.
John Kinsella is an Australian poet with a high profile and a long record of achievement, including winning the 2013 Prime Minister’s Literary Award for Poetry. He is also an assiduous anthologiser. Most notably, he edited The Penguin Anthology of Australian Poetry (2008), one of the more successful of recent attempts to establish an indicative canon of Australian poetry (although this was not, perhaps, Kinsella’s avowed intention with that book).
Sometimes irritating, often informative, occasionally incisive and sporadically genuinely interrogatory, the thoughtfulness evinced by (many of) the writings collected in Poetry and the Trace triggers further chains of association and dissociation. This is a genuinely critical collection in various senses of that word: at once analytic, hortatory, and urgent.
Ah let’s do new where scarabs click Resonant dust from hashish headlight Forever dream thing sweeps through high brocade And mind is central, serene, lavender mists With a sucker punch below the graft, Below a mortar and pestle imprimatur — …
Coming back to their neck of the woods, a shout was as good as a wolf and a basket as full as a boot full of tarnished medallions and useless keys, pugnacious as costume on a moonlit patio, swilling prosecco …
In the constant tramline motion of his trainers He took the third and added a choice amendment To their wish fulfilment; but don’t doubt he loved — He did, big time and strong, the tall buildings wavering. Sneaker rocker ripping …
Displacement is apparent both geographically and textually in Letters from Ausland by Louis Armand, The Vision of Error by John Kinsella (subtitled, ‘A Sextet of Activist Poems’) and marionette by jessica l. wilkinson (written here all in lower-case and subtitled, ‘a biography of miss marion davies’). All three poets are or have been editors of literary magazines: Armand edits VLAK, out of Prague; Kinsella, SALT; and Wilkinson, Rabbit (why does this name always remind me of Wittgenstein’s drawing of a rabbit that can also be perceived as a duck?) Armand and Kinsella have also collaborated on a number of books.
John Kinsella’s latest foray into what has become known as ‘ecopoetics’ raises many more aesthetic and political questions than can be resolved in a short review. As in his Divine Comedy: Journeys Through a Regional Geography (2008), Kinsella makes vivid and considerable use of autobiography. He and his family are presented as embattled eco-pioneers in a region already much destroyed by bad farming practices, partly multi-national in origin, and roamed over at will by township hoons ready to shoot up anything that moves.
This paper is concerned with ‘making sense’ in Peter Larkin’s ‘Leaves of Field’, a long poem that articulates a post-pastoral poetics based on ethical valency activated by attention. ‘Leaves of Field’ directs questions at us: How do we look at ‘natural’ objects? What is adequate poetic description? Can there be ethics without an apparent subject? How can we avoid instrumentalising nature poetically and ecologically after human intervention? What is the ‘value’ of human-and-non-human relations? Creating a lyricism not based on self-expression or explicitly only-human community, Larkin answers the challenges of writing innovatively with ethical consciousness by attending minutely to poetic texture and to ‘attention’ itself.