- 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
Poetry might be whispering these days, but only fools fail to hear it. The whisper might be the tough sibilance of protest, it might be the swirl of nostalgia for what will soon be lost and irretrievable, it might be the resilient, gnomish murmur that tells of what cannot be suppressed, and cannot either ever be quite directly expressed. And so, Huginn and Muninn open Libby Hart’s new collection of poetry.
2014 intercepted electronic communications, DOD… aphorism identified as a threat to national security. The aphorism envies the novel, the novel, of course, envies the haiku and the haiku envies the brief life of the leaf. – Gen PJ Burke, U.S. …
Poetry collections aren’t prone to extensive reprints, so Kevin Brophy’s Walking, – which includes selections from five previous books – is somewhat of a trove for anyone wanting to access his earlier work. It also features a suite of new poems which, in their gentle complexity, are among his most interesting – testimony to a writer who’s carefully honed his craft over a 30-year stretch.
In a 2007 review of one of Geoff Page’s previous verse novels, Lawrie & Shirley, Peter Goldsworthy names Page as a verse-novel ‘multiple offender’ in the excellent company of Murray, Porter, Wearne and Rubinstein. Goldsworthy approaches discussion of the form by reflecting, ‘If poetry is the most ancient literary form, as old as music, then the verse novel is surely the most ancient form of poetry, using the word novel loosely’ (Australian Literary Review, May 2007). The long and respectable polygamous marriage of poetry with narrative and history was, we might say, dissolved during the Romantic period, allowing the novel to find its ecological niche – and more than a niche, a whole territory.
Radar. Green blips on a black screen. A large and vulnerable craft navigating a changeable world. A technological attempt to locate an invisible danger, or to give shape to darkness. All these associations emerge out of the poetry of Kevin Brophy and Nathan Curnow in their joint collection Radar, albeit in an intimate mode: these poets observe the ways in which we navigate through our lives in the contemporary world and improvise meaning. It is difficult, though, to talk about ‘the book’ because these two poets differ strikingly in their approaches.
I was out drunk with friends one night in Perth, Western Australia. My father had just died. We were walking home, so to speak, and our path took us past the Church of Christ. At that, I launched myself at the wall of the church, found a toehold and lunged up into the air. I grasped the ‘t’ decal and with all my weight managed to prise it from the wall. The Church of Chris looked down upon us all. I continued on my way home, or rather to here, but not without the occasional somewhat gratified memory of the incident. I cannot help thinking of the sudden appearance of the Church of Chris as a sort of revelation, with something to say about the truth of something. That is what reading Finnegans Wake is like.
The four star fridge is on its side, surprised To find sunlight on its shelves, ice tray dry And its arctic green inside slowly warmed. Hopes once hung with suits in wardrobes are out with posters of the stars we …