- 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
Another heatwave, the plumber pauses for prayer then (like us all) back to roots & excrement. Three canny Buddhists next door wave their golden cat, as if it was astronomy. Deities should never be an inconvenience, the bell-ringers & muezzins …
Is Les Wicks afraid of love? Yes, Les Wicks is afraid of love.
I start this review with a swift homage to Charles Simic (1975) because of the feelings, affects and question marks I was left with after first reading Les Wicks’s Getting By Not Fitting In (2016).
A nonexistent element. The theory of phlogiston was devised as an explanation as to why some things burned. Materials which had lots of phlogiston were supposed to burn well, releasing the element during combustion. Disproved with the discovery of oxygen. …
The 75 year old ladies’ man is all cut up in the hospital bed beside mine. He loves his dog, brags he once slept with a woman & her 30-year-old daughter at the same time… some kind of summit for …
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. …
Since it began 23 years ago, the Internacional de Poesía de Medellín has grown to become a major poetry festival in the world, in a country riven by 50 years of civil war. This year’s Festival (6-13 July) coincided with a new round of peace talks in Havana between the Colombian Government and FARC, and FARC rebels reportedly fighting security forces in the mountains. The Festival featured Australian poet Les Wicks, who reports on his experience below. The Festival has also ‘grown’ up alongside seismic changes for the city of Medellín, Colombian’s second-largest and once described as the ‘most violent city in the world’ (Time, 1988), due to its brutal cocaine drug-cartel culture.
You stare into the water, starkly aware of the ambiguous shadows there. So many of us are anglers in the Australian poetry scene; looking for something new, something fresh. Having landed this fish on my desk I will confess to a certain hesitancy to come too close. It’s not a large shark, some 60 odd pages generously spaced. There is more than a little empathy for this distressed, vibrant life. But I’m careful of the teeth.
In untidy light criminals bud on manky branches Singapore, London. Ayn Rand’s underpants smoulder as the stolid farm workers are buried with their wills. Healing via austerity, Orchard Rd (bypass pity). Five tattoos. Those summer clothes pass this merry chaos …
In curating this collection, I asked the writers to provide pieces that are short, edgy, and I’m happy that they have fulfilled that very loose brief. The disrupted texts they’ve produced – whilst having interesting formal qualities – also have poignant emotive qualities. The term I use for what others refer to as prose-poetry is experimental prose because I find that term broader and more inclusive. I asked several visual artists to suggest works that I could take or requested particular works I had already seen.
Got the job zombie, corporal us seniors are the new forever we shuffle through the operating rooms, parliaments our breathmints snipple in the hungry dawn our eating, the fibre, those mellow sauces dance dangerously close to the chilli snuggle down …
The Ambrosiacs by Les Wicks
Island Press, 2009
In Les Wicks' The Ambrosiacs visual and tonal senses, shown through a series of relentless escapes and endscapes, create a striking depiction of the poet's perceptions and observations. The fundamental basis of Wicks' collection, and the manner in which the reader is encouraged to approach them, is as an elegy: a series of memories and dedications aiming for the preservation of the instant, even if the instants are acknowledged as fleeting. The elegiac is not only the thematic directive, but plays out an effect of the visual, referenced from the first glance at the obscured palm trees packed densely on the book's cover. The ambiguity produced by the image on the cover references a loss to see clearly, and elides the demarcations between the trees and the sere, as the temporal space between them vanishes into the depths.
Observe the crescent curve of his back – cockroaches are the hieroglyphs. When our eyes touch, is it night or is it day? Stitching sinners into dishonest possessions Crazy dumsaint and Barthes' kleenex box intricately constant as they eject cometary …