- FREE: 20 Poets anthology
- 88: TRANSQUEER with Q Eades and S Barnes (submit now!) 87: DIFFICULTwith O Schwartz and H Isemonger(coming soon!) 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
- Review Short: Oscar Schwartz’s The Honeymoon Stage
- Review Short: Philip Mead’s Zanzibar Light
- Carmine Frascarelli Reviews Nguyễn Tiên Hoàng
- Review Short: Therese Lloyd’s The Facts and Helen Heath’s Are Friends Electric?
- Review Short: Selina Tusitala Marsh’s Tightrope
- Review Short: Charmaine Papertalk-Green’s and John Kinsella’s False Claims of Colonial Thieves
- Review Short: Andy Jackson’s Music Our Bodies Can’t Hold
- Review Short: Rachael Mead’s The Flaw in the Pattern and Philip Nielsen’s Wildlife of Berlin
- Johanna Featherstone Reviews History and the Poet
- Submission to Cordite 88: TRANSQUEER
- Review Short: Shastra Deo’s The Agonist
- Review Short: Tracy Ryan’s The Water Bearer
- Review Short: Bulky News Press Chapbooks from Andrew Pascoe, Chris Brown and Marty Hiatt
- Review Short: Susan Hawthorn’s Dark Matters
- 12 Works by Sue Kneebone
- Introduction to NO THEME VII
- Bone Shame: Grief, Te Ao Māori and the Liminal Space where Translation Fails
- Re-imagining Place: A Psychogeographic Reading of Carmine Frascarelli’s Sydney Road Poems
- ‘Geelong checks its modernist warranty’
- John Ashbery’s Humane Abstractions
- Shattered Writing: Four Translated Valerie Mejer Caso Poems from Edinburgh Notebook
- Four Translated Laia Llobera i Serra Poems
- ‘We mirror what we see’: Holly Childs Interviews Cristine Brache
- President Donald J Trump at the Western Wall, Jerusalem 2017
- Diary Poem: Uses of Dreams
- Neutral Bay, New South Wales
- OK GOOGLE
So begins ‘driving to katoomba’, from the first poetry collection that Merlinda Bobis published in Australia, Summer was a fast train without terminals (Spinifex, 1998). The opening is typical of Bobis’s inimitable gusto and extravagance: the lines follow the gesture of the body that reaches for a view, simultaneously craving and offering the world while delighting in the knowledge that both impulses remain unfulfilled.
World of Feelings: Ghassan Hage, Bruce O’Neill, Magic Steven and the Affective Dimensions of Globalisation
The full set of LW1 arrives in the post like a present, a gift-wrapped bundle of square, slate-coloured books. It came to me looking so perfect, that a couple of days passed before I had the heart to a prise a chapbook from under the clear binding ribbon. This situation gave shape to a thought about the necessity of obstruction in order for words to seduce. Some form of this theory of desire continued to occur to me as I read the books’ divergent visions.
I am pleased to announce that Lucy Van has joined the Cordite Poetry Review masthead as Short Reviews Editor. She will assume duties near the end of 2015, starting with all new short reviews commissioned at that time. Lucy Van …
‘The dog ran in there / It had been a mistake / to take up his old trail.’ The bold lines that open ‘The Old House’ (48) from Lucy Dougan’s latest collection, The Guardians, deliver a fine sample of Dougan’s deceptive simplicity. What better emblem for the concept of guardianship than the family dog? But the sentimental cocktail of love and loyalty embodied by this familiar friend is immediately crosscut by the ‘mistake’ of memory, an error of the senses that leads directly to the unheimlich.
By way of introduction permit me to share that for some reason I keep conflating this poet’s name with the title of her latest book. The result is a hybrid of name and place, forming a vague ‘place-name’ in the utterly made-up signifier ‘Porchland.’ Working back, this topos, to my mind, alluding to a libidinous, transgressive and, above all, fertile ground, is formed out of the name of the talented poet, Ivy Ireland, and the title of her second collection of poetry, Porch Light, whose eponymous poem quotes Tom Waits in the epigraph: ‘How do the angels get to sleep when the Devil leaves the porch light on?’
http://cordite.org.au/wp-content/uploads/2014/12/yellow-emperor.jpgMedical diagnosis could be thought of as a form of storytelling; an analytic as well as creative process that translates the unclear expressions of the body into a plausible narrative, ideally one that directs the way to healing. Just as diagnosis might be con-sidered an art – a speculative performance that is highly contingent, at times inspired or risky – the discipline of medical observation has itself often inflected and animated art forms.
Lately I’ve been listening to a lot of pop music. And I’ve been hearing really abstract arrangements, huge production, and big, inescapable metaphors. This is the cultural form for people that want to feel as loud as the music, as …
In his two most recent books, the prolific John Mateer presents work developed over the long haul. His concluding essay in Unbelievers is a reflection on the seven years of writing behind that body of work, and Emptiness emphasises in its subtitle the 14-year scope of that collection. Despite the years of writing they represent, both collections bear a freshness of focus, expressed through Mateer’s formulation: ‘the irony of Elsewhere’.