- 85: UNPRINTABLEwith J R Carpenter and Benjamin Laird (coming soon!) 84: SUBURBIAwith Lachlan Brown and Nathanael O'Reilly(submit away!) 83: MATHEMATICSwith Fiona Hile (coming soon!) 82: LANDwith James Stuart and Jane 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 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
- Introduction to Jeanine Leane’s Walk Back Over
- Introduction to Anne Elvey’s White on White
- Winners for the Val Vallis Award for an Unpublished Poem 2017
- Buying Satin Dresses at Yu Garden
- (after) HER: dating app adventures
- The Future of Music
- His Master’s Voice
- Quietly, on the way to Mars
- Submission to Cordite 84: SUBURBIA
- Signs from Asemia: Yasmin Heisler Reviews asemic 15
- Review Short: Aileen Kelly’s Fire Work: Last Poems
- Review Short: Brian Castro’s Blindness and Rage
- LAND Editorial
- The Land as Breath: Can Poetic Forms Be Metaphors for Landscapes?
- Concrete: A Shikoku Pilgrimage
- World of Feelings: Ghassan Hage, Bruce O’Neill, Magic Steven and the Affective Dimensions of Globalisation
- Un(dis)closed: Reading the Poetry of Emma Lew
- Architecture, Poetry and Impressions of a Bendigo Chinese Doctor, James Lamsey
- Possession, Landscape, the Unheimlich and Lionel Fogarty’s ‘Weather Comes’
- Placeways in the Anthropocene: Phyllis Webb’s Canadian West Coast
- 12 Pigment Prints on Paper by Tony Albert
- ‘a serpentine | Gesture’: The Synthetic Reconstruction of Ashbery’s Poetic Voice
- Vorticist Portraiture in Mina Loy’s Anglo-Mongrels and the Rose
- Petrus Augustus de Génestet’s ‘Peaen to the Netherlands’
- Three Translated Takako Arai Poems
- Three Translated Nguyễn Man Nhiên Poems
- Four Translated Gerhard Fritsch Poems
Poetry has a peculiar provenance in the public sphere. To describe the situation with egregious simplicity, some allege that poetry should speak to and for the people, while others assert that poetry should be avant-garde, testing the conventions of language and enacting nothing less than a transformation of society.
David McCooey is a prize-winning poet and critic. His latest book of poems, Star Struck, was published by UWA Publishing in October 2016. His previous collection of poems, Outside (2011), was shortlisted for the Queensland Literary Awards, and was a finalist for the 2012 Melbourne Prize for Literature’s ‘Best Writing Award’.
A poem addressed to Anne Carson My husband is wheeled from emergency to theatre along a hallway carpeted with silence. Escorted to a waiting room, almost fin de siècle Victorian, I survey medical books encased by glass and blighted like …
Cover design by Zoë Sadokierski She Woke & Rose introduces us to a poet, Autumn Royal, who is unafraid to spark light in the darkest of places. The poems in this impressive debut collection illuminate the uneasy space of the …
Last year I heard Judith Beveridge interviewed by Bronwyn Lea at the 2014 Queensland Poetry Festival. Aside from being left with the enduring impression that Lea should have her own TV show, I was also struck by a number of Beveridge’s revelations regarding her praxis. Beveridge confessed, for instance, that she does not like listening to music. Nevertheless, she described the process of writing poetry in a way that resonated with the classical foundations of lyric verse in music. Beveridge revealed that she begins writing by mobilising rhythm, rhyme, feeling and alliteration to bring forth the words and images of her poetry. She begins, in other words, from an embodied experience of language – as the philosopher Maurice Merleau-Ponty describes it in The Phenomenology of Language – that is essential to us all.
Maria Takolander is an Australian poet with Finnish heritage. Takolander lives in Geelong, where she works as a Senior Lecturer in Literary Studies and Professional and Creative Writing at Deakin University. She has published a book of academic criticism, on South American magical realism, called Catching Butterflies: Bringing Magical Realism to Ground (2007); three books of poetry: Narcissism (2005), Ghostly Subjects (2009), and The End of the World (2014); and a book of short fiction, The Double (2013); a novel is forthcoming from Text.
Maria Takolander has grouped the poems in this, her second collection, to isolate three slightly different impulses in her work. Because the central section is comprised of poems whose point of view underlies those of sections one and three, I shall deal with it first. All of its poems explore the dark and unforgiving nature of the world.
It is a tribute to the quality and readability of Bronwyn Lea’s poetry that a selection of her work forms the second volume in the new George Braziller series (edited by Paul Kane), which aims to introduce contemporary Australian poets to American readers. True to lyric poetry, Lea’s poems are musical in their composition, and they can be intimate in their subject matter. However, Lea’s work is never just about crafting agreeable verse, and it is never just about her personal experience.
Tracy Ryan’s seventh full-length collection of poems, Unearthed, comprises of an extraordinary series of elegies and elegiac poems. The elegiac mode here is both intimate and epic in scale. These poems commemorate the most private moments shared with lost lovers – those times ‘relished and wasted’ (12), ‘snug’ in ‘coffin-dark’ beds (32) – as well as the ways in which our inhabited environments – mountains, the plant and animal worlds, even glimpses of the moon – are ghosted by the dead.
Maple Street, Smalltown, Ohio. Sunday afternoon, a regular sitting room, an urgent news broadcast. Doom. And then nothing. Electricity lingers briefly, like a soul, until there is only the grey bulge of the screen and its putrid reflection. A man …
Ghostly Subjects by Maria Takolander Salt Publishing, 2009 Swallow by Claire Potter Five Islands Press, 2010 In his 2007 essay ‘Surviving Australian Poetry: The New Lyricism’, David McCooey identified the prevailing mode of poetry in contemporary Australia as a negotiation …
Somewhere in Patagonia, an old man carries an axe, and a kitten blows like tumbleweed down a street otherwise empty. The closed storefronts are vacant as dreams, and the traffic lights like absence before the raw wind. It is barely …