- 84: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 81: LANDwith James Stuart and Jane Gibian (submit away!) 80: NO THEME VIwith Judith Beveridge (closed) 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
- Liam Ferney Reviews Cassie Lewis
- Alice Allan Reviews Watching the World: Impressions of Canberra
- Introduction to Tanya Thaweeskulchai’s A Salivating Monstrous Plant
- Michael Aiken Reviews Dave Drayton
- Owen Bullock Reviews Alan Loney
- Review Short: Holly Isemonger’s Deluxe Paperweight and Jessica Cham’s premium pastoral poetry
- Review Short: Anthony Lawrence’s Headwaters
- EKPHRASTIC Editorial: Poetry that Sees
- J S Harry’s ‘tunnel vision’, Vicious Sydney and The Car Story
- Ekphrasis as ‘Event’: Poets Paint Words and the ‘Performance’ of Ekphrasis in Australia
- ‘Often Said Apologetically’: Merryn Sommerville’s Child of the High Seas
- Tunnel Vision
- Interview with Sidney Nolan (Ella O’Keefe edit)
- Is Contemporary Australian Poetry Contemporary Australian Poetry?
- An Extra Oyster for the Doctors
- John Woodcock Graves the younger [with] Truganini
- APOLLON MUSAGÈTE
- after infatuation—ross bleckner—oil on linen
- Gouache, Sheep Skulls, Fence Bracket
- Anatomy for the Blind
- The Pioneer
- Interior with Figures
- Miro’s Eyes
- Autumnal Cannibalism
- Narrenschiffen, a Collage Sonnet
Translated from Lionel Fogarty in language to the Bangla by Avishek Rath হাতকয় পিছে পায় পায় চলে জংলা জংলি মন হতে চায় ভাতার নয় রে মরদ রে মুই যোনিতে, পায়েতে, পায়ের পাতায় মাটির স্বপ্ন দাউ দাউ জ্বলে ঋতুস্রাবের আগুন তলে …
Image courtesy of Lionel Fogarty For Martinican poet and theorist Édouard Glissant, forced poetics exists ‘where a need for expression confronts an inability to achieve expression.’1 Glissant further clarifies this when he argues that ‘a forced poetics is created from …
Garment government town sea dunes sea front loot. See new in Ceduna nah school fish for sea news. A long the great bitten beach bright open shores, Sea over dews sees sea of jewels. Mining town know for worker on …
Lionel Fogarty | on pigs skpies (COMMON COPS COBS AND CODES) He the poetry fee mans says yes greater idea, To have cops who done wrong to first Australians’ Get out a books in personal poloidal postconiel poems. Well it …
This cities are builted on times land. Whites made a date to root their women’s Season flow in times of hardship winds live below the feets that walk the flower smell on the mouth we smell. Fields desires passion for …
Who gave you woman don’t know who us is ha ha Vioce the name black babe Not our son ,not our Daughters Yo who your name means What voice give’s sound to the works off a poet writers Yo who …
He wave his fingers saying he’s a worker Work to the breeze off pride, Word winner made heat powers run. Work together in sunshine machine society, Brings version over our sensuality. Harvest highways for the drivers find, Safe life living …
Digger lion’s goal have to =====$$ No warrior’s cult threats invisible vibes Dumb bounded by digging a lions genocide Syntax blotched greed; Let the frontiers frontline wise surface non greed A destruction end when poison tongues gave Honouring obligations. ‘’Tablespoons …
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).
Lionel G. Fogarty is an indigenous Australian poet who is recognised for the excavation of a poetic space in which, as Michael Brennan has written, ‘his community and culture is recuperated and asserted’ whilst ‘dominant discourses, both political and poetic’ are subverted and destabilised. These qualities make Fogarty’s work difficult to review in a context in which the status of indigenous literature remains, for some institutions at least, seemingly unapproachable.
Sometimes irritating, often informative, occasionally incisive and sporadically genuinely interrogatory, the thoughtfulness evinced by (many of) the writings collected in Poetry and the Trace triggers further chains of association and dissociation. This is a genuinely critical collection in various senses of that word: at once analytic, hortatory, and urgent.
Nicholas Jose Reviews Speaking the Earth’s Languages: A Theory for Australian-Chilean Postcolonial Poetics
If poetry registers ‘internal difference, Where the Meanings, are’, in Emily Dickinson’s deep phrase, then indigenous poetry creates meanings that are more different still. Growing from an alternative poetics that questions conventional procedures and challenges what we know, indigenous poetry gives us a chance to change. That is true whoever or wherever we are, Indigenous, indigenous or invited in. It may be more broadly true, across other art forms too, but to start from poetry, if poetic language is speech at its most highly charged, then in indigenous poetry there’s a glimpse of a potential for overturning and renewal. Dominant practice has its own built-in obsolescence. Paradoxically, given its acknowledgement of the timelessly old and absent, indigenous poetry suggests a new way forward.