- FREE: 20 Poets anthology
- 87: UNPRINTABLEwith J R Carpenter and B Laird (coming soon!) 86: NO THEME VIIwith Lisa Gorton(submit away!) 85: PHILIPPINESwith Mookie L and S Lua(coming soon!) 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
- Alan Wearne Reviews Ross Gibson
- Introduction to Helen Lambert’s Echoland
- Introduction to Siobhan Hodge’s Justice for Romeo
- Introduction to Lindsay Tuggle’s Calenture
- Introduction to Pascalle Burton’s About the Author Is Dead
- SUBURBIA Editorial
- Ghost Flowers in the Word Machine: Poetry, Pessimism and Translation in the Age of Technology
- ‘a homemade world’: On the Dandenong Line
- Ken Bolton’s Suburbia, an Introduction
- No Safety, No Submission? A Survey of New Zealand Small Presses
- Wright Vociferous – ‘Birds’ and ‘Skins’ – Physiognomy, Identity and the Wild Spoken Word
- But Why Am I Telling You this? You Are Not Even Here: Against Defining the Suburb
- 12 Works by Lara Chamas
- 4 Machines by Robert Andrew
- Five Translated Eileen Chong Poems
- Two Translated Kim Yideum Poems
- Four Translated Geng Xiang Poems
- ‘Refusing to be published, refusing even to perish’: Amelia Dale Interviews Ouyang Yu
- ‘Myth is not merely decorative’: Prithvi Varatharajan Interviews Michelle Cahill
- Sandra D’Urso Interviews Fiona Hile
- ten atmospheres
- The Lowlands (West Melbourne Swamp)
- Stony Creek
- Moonee Moonee Chain of Ponds
- Walking West
- The Orbweaver’s Newer Volcanics
When Judith Wright died in 2000, at the height of Prime Minister John Howard’s cultural hegemony, Veronica Brady was called upon to deliver a eulogy at the public memorial held in Canberra. This eloquent and impassioned speech was reprinted in a national newspaper under the headline, ‘Giant in a Land of Pygmies’.
The death of Dimitris Tsaloumas (1921-2016) invites us to revisit and re-evaluate his poetry without the critical anxiety to place him within the historical taxonomies of Australian literature or the hermeneutical suspicion about its belonging. The task of situating his poetry will take time as the canon of Australian literature is still fluid and its main parameters are not yet finalised.
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).
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.
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Nicholas Jose Reviews Speaking the Earth’s Languages: A Theory for Australian-Chilean Postcolonial Poetics
If poetry registers ‘internal difference, Where the Meanings, are’, in Emily Dickinson’s deep phrase, then indigenous poetry creates meanings that are more different still. Growing from an alternative poetics that questions conventional procedures and challenges what we know, indigenous poetry gives us a chance to change. That is true whoever or wherever we are, Indigenous, indigenous or invited in. It may be more broadly true, across other art forms too, but to start from poetry, if poetic language is speech at its most highly charged, then in indigenous poetry there’s a glimpse of a potential for overturning and renewal. Dominant practice has its own built-in obsolescence. Paradoxically, given its acknowledgement of the timelessly old and absent, indigenous poetry suggests a new way forward.
Being from a country that cannot seem to stop boasting about its ancient legacies and from a family whose own history goes back seventy-five generations, I find it incomprehensible how any self-respecting nation could spend over a century looking outside of itself for a ‘heritage’.