Kate Lilley

Liam Ferney Reviews Kate Lilley and Pam Brown

In 1915, H G Wells published Boon, a satirical novel that featured long passages pastiching the literary style of his erstwhile friend, Henry James. It kicked off an epistolary barney over what art should be about.

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Young men 18 to 35 caucasian defendants naked or partly clothed variously posed Statue of David style around the yard and inside the judge’s home bending over aluminium cans shot from behind in positions amounting to forced labour A light …

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Mortalities Memorandum

For her to die like that nobody there not screaming for morphine in the ICU Help! Help! Come here! Rub my feet! A good death is humble noble lonely cancer is lonely writing is lonely Get it out on the …

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To request the presence or attendance of to wish, long (to be, have, do) to ‘toe a line,’ meaning stand in a row Of things: to require, need, demand a vehement pang, eyther of bodie or mynde zealous pursuit of …

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Civil Wrong

Coming to the nuisance a house falls abandonment (of residence) abandoned intellectual property know-how and the tort of false light spreads falsehood freely and without recourse Eggshell skull, trespass to chattels reprobation, reversal of approval the face of the earth …

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Gig Ryan Reviews Emma Lew, Bella Li, Kate Lilley, and Jennifer Maiden

Elegy intensifies around the objects that remain, those keepsakes that must signify a spent life. In Kate Lilley’s Realia, the first poem ‘GG’ is an auction listing from Greta Garbo’s estate in which the repetition of Garbo’s name intones like a docked requiem. Only things exist timeless, immutable, saleable, as shining representatives of the once-living. Life’s fraught event is reduced to its acquisitions, and transformed, satirised, into capitalism’s ultimate wearer of labels: the former consumer of commodities is now more amenably cast purely as a selection of those objects, whose value her absence increases.

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Justin Clemens Reviews Poetry and the Trace

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.

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Bev Braune Reviews Kate Lilley

Kate Lilley’s second collection, Ladylike, is a tightly constructed and complex work on love and language. Reminding me of Welsh poet Gwyneth Lewis’ wry, poignant words concerned with Welsh language, use of English and meaning-frauds, Kate Lilley enlivens her readers to assumptions, contradictions and the various erections of judging behaviour that surround the definition of a woman today or in any recent age.

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HCI and The Muses of Poetry: Calliope Recites Jenkins, Lilley, Langdon and Williams

The Muses of Poetry is one of the current projects at the Research and Development Department of the Institute of Animation at Filmakademie Baden-Württemberg in Germany, that intends to bring poetry – its emotionality, auditory structures and nuances when words meet elocution – to a larger audience.

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Enter Cordite Scholarly

Cordite Scholarly is a new section of Cordite Poetry Review devoted to peer-reviewed research on Australian and international poetry and poetics. Essays published in Cordite Scholarly are reviewed by at least two members of Cordite’s Academic Advisory Board (or see …

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Heather Taylor-Johnson Reviews Southerly

The poets in this special poetry issue of Southerly stand for what is now, what is exciting/experimental and what is quality. But did Kate Lilley hand pick most of these poets, ensuring the issue would be tight, stylistically, and adhere to a chosen dogma? She does say in her intro that ‘Of the many poems that turned up in my inbox, already pre-selected by their authors, these are the ones that struck me most’.

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