- FREE: 20 Poets anthology
- 94: EARTHSUBMIT to M Takolander 93: PEACHCOMING SOONwith L Van, G Mouratidis, L Toong 92: NO THEME VIIIwith C Gaskin 91: MONSTERwith N Curnow 90: AFRO AUSTRALIANwith S Umar 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 F Hile 82: LANDwith J Stuart and J Gibian 81: NEW CARIBBEANwith V Lucien 80: NO THEME VIwith J Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith K Glastonbury 56: EXPLODE with D 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 P Brown 52.0: TOIL with C Jenkins 51.1: UMAMI with L Davies and Lifted Brow 51.0: TRANSTASMAN with B Cassidy 50.0: NO THEME IV with J Tranter 49.1: A BRITISH / IRISH with M Hall and S Seita 49.0: OBSOLETE with T Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with C Wakeling 47.0: COLLABORATION with L Armand and H Lambert 46.1: MELBOURNE with M Farrell 46.0: NO THEME III with F Plunkett 45.0: SILENCE with J Owen 44.0: GONDWANALAND with D Motion 43.1: PUMPKIN with K MacCarter 43.0: MASQUE with A Vickery 42.0: NO THEME II with G Ryan 41.1: RATBAGGERY with D Hose 41.0: TRANSPACIFIC with J Rowe and M Nardone 40.1: INDONESIA with K MacCarter 40.0: INTERLOCUTOR with L Hart 39.1: GIBBERBIRD with S Gory 39.0: JACKPOT! with S Wagan Watson 38.0: SYDNEY with A Lorange 37.1: NEBRASKA with S Whalen 37.0: NO THEME! with A Wearne 36.0: ELECTRONICA with J Jones
- Submission to Cordite 94: EARTH
- NO THEME VIII Editorial
- ‘A means of resistance’: Susie Anderson Interviews Alison Whittaker
- 10 Works by Richard Bell
- Shipwrecks in Modern European Painting and Poetry: Radical Mobilisation of the Motif as Political Protest
- 4 Self-translations by Danijela Trajković
- Brutalism: Poems by Alex Creece
- Imperfect Growth: a Travel Log
- 4 Translated Kim Seung-hee Poems
- Residence: Dwelling with The Shards (an essay)
- The Shards
- in yr swimming pool
- Sonar for Conception
- The slow clock
- nanny on the water
- Vernal Funks & Bluffs
- I’d Have Called Her Sooner
- Call of Summer
- Sunday, call me a squid
- Mother Bird
- The Wrong Colour
- Milk River
- House fitting : surprisingly
Photo by Gen Ackland. BUY YOUR COPY HERE Marjon Mossammaparast’s That Sight offers us a wide-ranging series of viewpoints, taking the reader through various locations and histories. It zooms out to cosmological heights, and even beyond to God (or the …
after Du Fu Thousands of apartments honeycomb these towers, lit by angled sunlight and increasing valuations. I sit on the hill of our GDP. In the harbour the fishing boats return from exhausted seas, floating in bewilderment. China Southern expands …
‘Toward dusk,’ writes Brown in the book’s penultimate poem, ‘when the sky is passport blue, / you return via the National Performing Arts Centre, / its vast half-egg reflected in the stirring water.’ This poem, ‘Blank face double vision’, is reminiscent in certain ways of Lorca’s Poet in New York. Both Brown and Lorca use the phrase ‘blank face’ as well as the word ‘egg’.
‘There is an assumption that real art only comes from the city,’ writes Winnie Siulolovao Dunn in her 2017 essay, ‘FOB: Fresh off the Books’. Dunn is writing about the stigma of hailing from both Mt Druitt and Tonga. For the young Dunn, the ethnically diverse Western Suburbs of Sydney seem far removed from any cultural centre.
Send us your latest and greatest poems about the suburbs, the immense variety of life therein, and whether your suburban experience is inner, outer, middle-belt, beachside, exclusive, inclusive, multicultural, bogan, hipster or something else together.
Now, even from this distance, you notice too many espresso cups scattered across the axes of your life. That is why bits of unmatched self get shattered and overlayed in places like this. You try to count the connections, café …
And when you find an entire cigarette on the ground* but you’ve never smoked anything, it seems like there’s a wide universe offering you lung-cancered perfection, no longer content with your ease of breath. Wander the streets on any council …
You jump at chancy Snapchat possibilities, your suitcase eyes looking better beneath the third filter. You’re sitting here with technology’s slouch, sinking further into the selfworld imagining a terrifying flightpath from London to Kuala Lumpur to anywhere really. ‘Be yourself, …
Imagine that three poems are delivered to your door. They come without note, explanation or sending address. The first is Charles Wright’s ‘Appalachian Book of the Dead’[2. Charles Wright, ‘The Appalachian Book of the Dead,’ in Black Zodiac (New York: Farrar, Straus and Giroux, 1997), 34-35. All subsequent references included in text as line numbers.]. The second is a fragment called ‘Pilgrimage’, which is the title of section three of John Burnside’s poem ‘Roads’[3. John Burnside, ‘Roads,’ in The Asylum Dance (London: Jonathan Cape, 2000), 73-84. All subsequent references included in text as line numbers.].
high end fascism or bomb blast nostalgia at the season’s shoulder each day an analogue of the one that came before it as though we could somehow avoid spring’s litigious blue skies or those evening stars like talk show applause …
Prelude: Instructions for Travel When facing a veritable quandary insert hormone pellets Gather the mob at the bicycle assembly point Wish for a book at Powell’s locate fancy beasts, a mosquito cry hallelujah! then blackout Imagine noir script starring woman …
A meditation on city limits – the literal and figurative limits of cities – and the edges of ‘urban’ definition, Lachlan Brown’s first collection, Limited Cities, conveys the extreme contrasts and contradictions of suburban environments via train-window views. Macquarie Fields, Parisian banlieues and Barcelona street scenes: each keen observation of the space through which he moves contributes to a nuanced description of the poet’s perspective, and in turn the reader’s too. What at first appears to be a collection concerned with the external – landscapes and cityscapes – is, in fact, more personal.