- 84: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 83: MATHEMATICSwith Fiona Hile (submit away!) 82: LANDwith James Stuart and Jane Gibian(coming soon!) 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: Susan Fealy’s Flute of Milk
- Review Short: Brook Emery’s Have Been and Are
- NEW CARIBBEAN Editorial
- Deconstructing Decolonisation: Victor Questel’s Collected Poems
- She’ll Chew You Up: Notes on Safiya Sinclair’s Cannibal and Tiphanie Yanique’s Wife
- Selections from ‘The Face: a feeling’: 8 Portraits by Kwesi Abbensetts
- Delicious Pick
- How to Exhale
- Tony’s Taxi Service
- After Olive Senior, ‘Flying’
- Messages to Bush Children – Building
- Stormy Night
- Beyond the River Road
- Crystal Chandeliers
- Exorcism / Freeport
- College Degree in Tourism and Service
- Under the Tamarind
- Norene’s Laugh
- “We the Dirt”
- Finishing Your Work
- The Day He Got It
- Poem for a Gunman
- Mama River
In her introduction to this anthology, editor Sarah Holland-Batt claims for the work ‘a colloquialism, contrarianism and playfulness that separates it from its counterparts in the northern hemisphere’. Being hitherto more familiar with that northern hemisphere, this reviewer’s critical interest was immediately aroused.
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).
Image courtesy of Australian Poetry Library Hazel de Berg’s recordings take place in the homes or work spaces of the subjects rather than a recording studio. This allows something of these places into the recording whether birdsong, traffic or an …
For Ken Bolton (who found it) 1 bitter gall in afternoon light stroboscopic beech ‘we will shortly be arriving at / Rainham’ a stationmaster spits the whistle Tate Modern: Delaunay (Robert) and Severini, Munch and Bonnard, Jonas Mekas’ films. Gerhard …
In the late 1850s, Charles Harpur composed the image of ‘a scanty vine,/ Trailing along some backyard wall’ (‘A Coast View’). It might be forgettable, save for its conspicuousness in Harpur’s bush-obsessed poetry. Whether purple ranges or groaning sea-cliffs, his poems cleave to a more-than-human continent. The scanty vine, however, clings to a different surface: human-made – the craft of a drystone wall, perhaps, or wire strung through posts like the twist of the poetic line – it signals domestic land division. Harpur’s vine of words trails along the vertical edifice of settlement.
[An edit from Journals, 1972-1983] 1 A sudden & brief thunderstorm over the house, the harbour. A day in a car wash near Taylor Square. Note on Brett Whiteley’s Zen: all the detail is peripheral: it was an easy step …
1 low native scrub on the promontory palm-ends splattered with birdshit upper decks of ships luminous in the Bay cloud from the northeast gathers, the poems dry up, at the edge of the military base, leaves hang awaiting scent release …
I’m far too young to remember the Blue Hills radio serial, which ran for an incredible 27 years, or 5795 episodes. But in my mind, I’ve always aligned it somehow with the long-running serial of a different medium, A Country Practice, and the experience of watching on, for years throughout my childhood. Watching fictional relationships bloom and end and change, watching births and deaths, illnesses and weddings, floods and fires and droughts; and now that I’m older, I can still, sometimes, align parts of its fictional time to the timeline that I experienced in the world.
don’t write when you have ‘something to say’ write when you have nothing to say
The Lee Marvin Readings has run, off and on, since the 1990s. Its venue has changed a number of times – from Adelaide nightclubs like Supermild, to the Iris Cinema, to the charmingly Zurich-1917, bo-ho De La Catessan and the more robustly hard-drinking and confrontational Dark Horsey bookshop at the Australian Experimental Art Foundation, where it now takes place. The sessions have been organised, run, staffed and emceed by poet and art critic Ken Bolton.
It says here that Tony Baker makes ‘sounds across the range from free improvisation to rustic guinguette à la moules frites’. Refried boogie Tony? * Mohair her suit hirsute * nobody ever talks of their ‘wasted middle age’ * Headers …
orange & white pots square in the middle of the sill of the house opposite its blind always half-drawn over curtains a mirror image to this house the rooms must be the same shape a large woman leans over the …