- FREE: 20 Poets anthology
- 91: NO THEME VIIISUBMIT to C Gaskin 90: MONSTERwith N Curnow, coming soon! 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 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: Simeon Kronenberg’s Distance
- Review Short: Judith Beveridge’s Sun Music: New and Selected Poems
- Melody Paloma Reviews Keri Glastonbury
- Submission to Cordite 91: NO THEME VIII
- Judith Bishop Reviews Phillip Hall’s Fume
- Bella Li on as Associate Publisher
- Alex Creece on as Production Editor
- Review Short: Diane Fahey’s November Journal and Carmen Leigh Keates’s Meteorites
- Review Short: Vahni Capildeo’s Seas and Trees and Jennifer Harrison’s Air Variations
- To Outlive a Home: Poetics of a Crumbling Domestic
- ‘The Rally Is Calling’: Dashiell Moore Interviews Lionel Fogarty
- Jackie Ryan: Teaser to Burger Force 3
- Dispatch from the Future Fish
- Introduction to Cordite 89: DOMESTIC
- 7 Portraits by Ali Gumillya Baker
- Selections from 3 Yhonnie Scarce Series
- Kathy Acker and The Viewing Room
- To Live There: on ‘Dispatch from the Future Fish’
- The Wild Workshop: The Ghost of a Brontëan Childhood in the Life of Dorothy Hewett
- Externalising the Symptom: Radicalised Youth and The Membrane
- On Deep Breaths and Friends Forever: Im/materiality and Mis/communication in Happy Angels Revisited
- Letter to Anne Carson: Work of Remembrance and Mourning
- Translated Extracts from Chantal Danjou
- Translations from Old English
- The Poets: Pejk Malinovski Self-translates
- Carnage, Crosses and Curiosity: 13 Images by Yvette Holt
- Body of Sound
This is going to be a rather disordered list of undeveloped and not closely connected thoughts about ‘the suburban’ and its binary partner ‘the urban’. Not my thoughts, for the most part, but my list of thoughts generally available.
I was already quite a few years into a creative writing PhD titled ‘Generic Engineering’ and flailing around quite spectacularly in a galaxy of words when an academic friend, perhaps hoping to spare me the indignity of a completed thesis and potential employment, flipped to the middle of the 526-page book he was reading and wordlessly pointed to a single sentence. ‘Due to a predilection whose origin I will leave it up to the reader to determine,’ he read, ‘I will choose the symbol ♀ for this inscription.’
The Idea Takes Place As Place Itself, Expanded and Revised Edition with a New Foreword by the Author
“From where did topos theory come?” that is the question. Usually God Alone poses rhetorical questions that answer themselves unlike logic. Also: self-answer, self-slaughter. It came from an unblessed contingent confluence of algebraic geometry and category theory given further decisive …
Hannah Arendt clearly noted it: a dog with a name-tag has a better chance of surviving than an anonymous dog. She also noted that the alleged protections offered by legal and moral rights – human or otherwise – would only be made available to those who did not need them. The right to have rights would be stripped from the rest; they would be consigned to the worst.
Collected Works Bookstore, Wednesday 6 May, 2015 I will begin with a bit of spontaneous resentful metaphysics. I am sorry to do so, for a number of reasons, but there we are. If it can be justified at all, it …
Colony collapse disorder describes a phenomenon whereby worker bees suddenly and inexplicably disappear from a hive. It has recently been identified as a syndrome following the rapid vanishing of Western honeybee colonies across North America and Europe. Justin Clemens also uses the term to describe an aesthetic collapse, whereby poets can only demonstrate their existence as ‘being caught dead’ given the fragile conditions of poetry and the inevitable, deadly effects of the past.
madam, i’m adam: noah’s nose knows no gnosis: physis machine: i, cassandra: romano umano: ++: (black out): ares & aphrodite: renaissance: cc: evo-revo: wah wah wah: clones, drones, loans & moans: the drowned world Trace nit up yap at start, …
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.
Unlike the recent Australian governmental fervour for signs of title (British, monarchist, hierarchical) and their accompanying anathemas contra entitlement (Australian, social democratic, welfarist), poetry titles struggle with self-authorization and singularisation.
me n me trumpt have unccontably misplacd our new grindr so we take to the streets clutchin our big bouncy baglettes of beans we bought in bulk from a boutique boutique in brunswick extracted from the rectum of a nut-mental …
What was mock epic? I use the past tense because the genre is thought to have died in the nineteenth century. According to a recent study by Professor Ritchie Robertson, a Queen’s College fellow and Taylor Professor of the German Language and Literature at Oxford University, mock epic died because epic lost its authoritative status: it was only possible to write a real mock epic in a time ‘when serious epics were being written and read in large numbers, manag[ing] to attain a position of cultural authority remotely comparable to that of Homer, Virgil, or Milton.’ Mock epic needed something prestigious to mock; when the epic lost its prestige mock epic lost its reason for being.
What does it mean to be ‘Home by Dark’? Is it a parental instruction to a potentially wayward child? Is it an expression of relief after a day of threat and uncertainty? Is it a navigational expression, a crepuscular refiguration of ‘North by North-West’? Is it a simple description of an accomplished movement, or another possibility altogether? To open this book is not to find such questions answered; it is rather to move and be moved with and by somebody who, as the epigraph from Kevin Davies has it, is prepared to ‘just keep staring into that English-language night sky.’