- FREE: 20 Poets anthology
- 91: NO THEME VIIISUBMIT to C Gaskin 90: MONSTERwith N Curnow, coming soon! 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 Fiona Hile 82: LANDwith J Stuart and J 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 F Wright and O 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 M Hall and S Seita 49.0: OBSOLETE with Tracy Ryan 48.1: CANADA with K MacCarter and S Rhodes 48.0: CONSTRAINT with Corey Wakeling 47.0: COLLABORATION with L Armand and H 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 J Rowe and M 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
- Submission to Cordite 91: NO THEME VIII
- Judith Bishop Reviews Phillip Hall’s Fume
- Bella Li on as Associate Publisher
- Alex Creece on as Production Editor
- Review Short: Diane Fahey’s November Journal and Carmen Leigh Keates’s Meteorites
- Review Short: Vahni Capildeo’s Seas and Trees and Jennifer Harrison’s Air Variations
- To Outlive a Home: Poetics of a Crumbling Domestic
- ‘The Rally Is Calling’: Dashiell Moore Interviews Lionel Fogarty
- Jackie Ryan: Teaser to Burger Force 3
- Dispatch from the Future Fish
- Introduction to Cordite 89: DOMESTIC
- 7 Portraits by Ali Gumillya Baker
- Selections from 3 Yhonnie Scarce Series
- Kathy Acker and The Viewing Room
- To Live There: on ‘Dispatch from the Future Fish’
- The Wild Workshop: The Ghost of a Brontëan Childhood in the Life of Dorothy Hewett
- Externalising the Symptom: Radicalised Youth and The Membrane
- On Deep Breaths and Friends Forever: Im/materiality and Mis/communication in Happy Angels Revisited
- Letter to Anne Carson: Work of Remembrance and Mourning
- Translated Extracts from Chantal Danjou
- Translations from Old English
- The Poets: Pejk Malinovski Self-translates
- Carnage, Crosses and Curiosity: 13 Images by Yvette Holt
- Body of Sound
- ‘Eat’ from Horse
- Stereocilia for 2 Ears of 1 Person
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.
our rock music might be shit but we invented the 21st century out of our favoured delusions. mid-thirties & the weekend’s dopamine costs more than the coke. we are the shrinkage & our favourite movies don’t come true, instead we …
Cul-de-sac 1 When I was 17 and finishing my high school exams the petrol station around the corner from our house exploded. I didn’t hear it but my twin brother did: he jingled the keys and we drove in his …
‘We can write what we want to write.’ John Farnham, ‘You’re the Voice’ I want to tell you a story I come from a saltwater people Waiting on the weekend, set of brand new tires Is running in your veins …
Based on the poems in The Blue Decodes, Lewis is an artist who values silence as much as noise. The book’s ninety pages, which include a number of poems published in her chapbooks, represent well over two decades’ worth of work which provides an interesting purchase on the question of why write poetry in the first place, particularly if it seems like an adjunct to an already full life?
Seriously, spree killings are part of the furniture. Once you get used to it you’ll hardly notice, besides that new paleo place is. the. bomb. Don’t mention the free advice you get from strip mall shonks, just relax into your …
Liam Ferney’s Content is a book of poems largely composed out of memes, or slices of culture. The notes at the back of the book state: Some of these poems contain allusions, sentiments, words, phrases, sentences and images that have been lifted from the culture. And Cordite’s comments. If you’re not sure, Google it. At this stage your guess is as good as mine.
“It’s Time, It’s Time” retranslated and the smell of her obese slander and propaganda. A republic of disappointment. We may never escape our consumption, a tractor beam of destiny. The optimist says he bulls-eyes womp rats in a T-16. The …
Play suspended for rest of day due to PJ Hughes’s head injury at 2.23 local time A day as deadly as the bulletin’s Cassandras broadcast. It hits home like a windshield spidered on the SE Freeway. Macca’s sign erased/ lead …
Ania Walwicz’s first book in more than twenty years, Palace of Culture, confirms her reputation as one of Australia’s leading conceptual poets. It consists of fifty (almost) prose poems, each between two and five pages length. The poems use the suggestion of narratives as a key organising principle. But suggestion is as far as any of the narratives get.
obviously “I was born on the day they dropped the bomb on Nagasaki.” She says that in the pool room as though she wanted to avoid a conversation about war. There is nothing left of his night. Jarred empathy made …
Jordie Albiston’s the Book of Ethel and Liam Ferney’s Boom illustrate two dramatic obverses in contemporary Australian poetry. Both are cleverly crafted; both have levels of subtlety and manifest strength; both are linguistically sinuous and inventive, taking liberties with conventional style and syntax; both use local vernaculars in contexts of global cultural pressures; both focus, often minutely, on particular individuals caught at moments of historical change and significance and, therefore, articulate and explore ‘political’ consequences and issues; both play – gloriously, ironically, iconoclastically – with language registers as a way of exposing implied ‘bigger pictures’. And yet these two collections are worlds apart in focus, style, nuance, framing and poetic affect.