- 84: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 83: MATHEMATICSwith Fiona Hile (coming soon!) 82: LANDwith James Stuart and Jane 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 Fiona Wright and Omar 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 Matthew Hall and Sophie Seita 49.0: OBSOLETE with Tracy Ryan 48.1: CANADA with Kent MacCarter and Shane Rhodes 48.0: CONSTRAINT with Corey Wakeling 47.0: COLLABORATION with Louis Armand and Helen 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 Josephine Rowe and Michael 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: Brian Castro’s Blindness and Rage
- LAND Editorial
- The Land as Breath: Can Poetic Forms Be Metaphors for Landscapes?
- Concrete: A Shikoku Pilgrimage
- World of Feelings: Ghassan Hage, Bruce O’Neill, Magic Steven and the Affective Dimensions of Globalisation
- Un(dis)closed: Reading the Poetry of Emma Lew
- Architecture, Poetry and Impressions of a Bendigo Chinese Doctor, James Lamsey
- Possession, Landscape, the Unheimlich and Lionel Fogarty’s ‘Weather Comes’
- Placeways in the Anthropocene: Phyllis Webb’s Canadian West Coast
- 12 Pigment Prints on Paper by Tony Albert
- ‘a serpentine | Gesture’: The Synthetic Reconstruction of Ashbery’s Poetic Voice
- Vorticist Portraiture in Mina Loy’s Anglo-Mongrels and the Rose
- Petrus Augustus de Génestet’s ‘Peaen to the Netherlands’
- Three Translated Takako Arai Poems
- Three Translated Nguyễn Man Nhiên Poems
- Four Translated Gerhard Fritsch Poems
- Rattling the Forms
- Arraignment Song
- Archiving the Present: Ivy Alvarez Interviews Conchitina Cruz
- ‘The concept of risk is intensely personal’: Jonno Révanche Interviews Hera Lindsay Bird
- signs of impression
- Trompe l’oeil
- Upon a Shot Star
- Final Hours, Sputnik 2
- The Old Fort at Grennan
- Karma Bin
- slippage (un)fixed
Nd— experiments are conducted at the e+e− storage ring VEPP-2M in the energy range 2E=0.5- 1.4 GeV by physicists at the Budker Institute of Nuclear Physics Novosibirsk 1982 to 1987 her kids born during that time Norway’s Norsk Data peaks …
In the nonfiction poetry issue of Axon that she co-edited with Ali Alizadeh, Jessica L Wilkinson highlights the impact that Jordie Albiston’s The Hanging of Jean Lee had on her as an undergraduate in 2001. Albiston’s collection is a poetic biography of Lee, the last woman to be executed in Australia. Wilkinson would later be influenced by Susan Howe – whose practice both informed and was a focus of Wilkinson’s doctoral study – to found Rabbit: a Journal of Non-fiction Poetry in 2011; however, a line can be traced from the early impact of Albiston’s book, to the journal, and on to the fledgling Rabbit Poets Series, which began with Albiston’s XIII Poems in 2013.
this room is brain devices whirr in a chiastic arrangement refrain chorus chorus refrain carolling intimate concert with me o! such melodious gadgetry this room is house it’s solid enough for ephemera holding firm with a granite grasp the walls …
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).
XIII Poems might be seen as a snapshot of what Albiston’s main concerns have been since Botany Bay Document (1996) appeared culminating with, I think, Vertigo (2007). Her publications since the mid-2000s reflect on similar concerns but with more biographical tones. Albiston’s main interests have been history, limitations or framed lives, their voices and interpretations of them, often using easily located words to tie groups of poems (‘heart,’ ‘black,’ and ‘white’ feature in XIII Poems).
Jordie Albiston’s the Book of Ethel and Liam Ferney’s Boom illustrate two dramatic obverses in contemporary Australian poetry. Both are cleverly crafted; both have levels of subtlety and manifest strength; both are linguistically sinuous and inventive, taking liberties with conventional style and syntax; both use local vernaculars in contexts of global cultural pressures; both focus, often minutely, on particular individuals caught at moments of historical change and significance and, therefore, articulate and explore ‘political’ consequences and issues; both play – gloriously, ironically, iconoclastically – with language registers as a way of exposing implied ‘bigger pictures’. And yet these two collections are worlds apart in focus, style, nuance, framing and poetic affect.
Jericho walls always fall hard on the ear too many signs luxate too brightly the eye once we believed in a thing call it silence a thing like a thing like a song we believed in a visual dream call …
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’.
When you first arrive, the doors are shut, Big white doors, space off limits, nothing To see here, wrong day, wrong time, Interior closed to outsiders, go home. She is somewhere in there, you are not. When you return, a …
The sonnet according to ‘m’ by Jordie Albiston John Leonard Press, 2009 To read Jordie Albiston’s The sonnet according to ‘m’ is to play the part of the village agnostic watching the reliquary in the local saint’s procession. “In this …
Vertigo: a cantata by Jordie Albiston John Leonard Press, 2007 One might think a collection devoted entirely to a break-up could become tedious or lamentably repetitive, but Jordie Albiston ensures that each poem in Vertigo: a cantata has a unique …
It may or may not be true that the road of excess leads to the palace of success. For this poet (who offers the confession that she goes ‘too far / Or not far enough’), such is the power of her manic/mantric energy that she admits, almost wordlessly, to no longer yearning for peace, and thus arrives at some humble sort of wisdom or acceptance.