- 84: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 83: MATHEMATICSwith Fiona Hile (submit away!) 82: LANDwith James Stuart and Jane Gibian(coming soon!) 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
- Tell Me Like You Mean It: New Poems from Young and Emerging Writers
- my mother told this story of the white girl in the library
- My Kitchen Counter Said
- Wangal Morning
- Blue Carbon, Intertidal
- seepage swan lake
- Tax Return
- The Feet that Don’t Stop Will Come to Know Shame
- The Spanish Revelation
- ante meridiem
- I’d Like to Take a Minute of Your Time to Discuss Short Cuts
- Workplace Injury Compensation Form
- nine minutes two seconds
- Cut and dried if only.
- American forests are moving west and nobody knows why
- New Town
- Sad Witch Psalms
- The Brandis Diaries
- Gabriel García Ochoa Reviews Poems of Mijail Lamas, Mario Bojórques & Alí Calderón
- Review Short: Andrew Sant’s How to Proceed
- Review Short: Tusiata Avia’s The New Adventures of Nafanua, Samoan Goddess of War
- Review Short: Michelle Cahill’s The Herring Lass
- Review Short: Susan Fealy’s Flute of Milk
Fruit is the apogee of the pastoral. It’s what the work, the waiting, the ritual and the thanks are for. But the making of fruit is costly and even the ‘natural’ cycle of things will be managed so some factors are privileged over others. In this cycle of post-lyrical poems, Hall questions the form and circumstances of these factors. What are they?
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 …
Violence and poetics are the key poles in Canadian-Australian critic and poet Matthew Hall’s new scholarly release. Hall charts how the British late-modernist poet, Prynne, responds to violent events of the twentieth and early twenty-first centuries – from the Holocaust, through apartheid, Chernobyl, and Australian colonialism, to Abu Ghraib. These affective sites of violence are linguistic, too: chapter two takes its subject as the ‘the sociolinguistic war’ which takes place under ‘the strain of economic factions and the reach of the multinational resource sector’.
In his essay on Charles Olson, ‘Open Field Poetics and the Politics of Movement’, David Herd bridges the geopolitical gulf between Hannah Arendt’s conception of ‘statelessness’ and Giorgio Agamben’s ongoing inquiry into the state of exception, biopolitics and nationhood. Herd contends that:
… [f]or complex and evolving reasons, the modern political state has become, by the early part of the Twentieth Century, synonymous with the idea of nation. The consequence of this was that citizenship came to be identified with national affiliation. Simply put, to fall outside of one national jurisdiction was to fall outside of all jurisdictions.
‘While he waited for the school bus’ is just one example of the extraordinary work that defines Nora Gould’s new book. Steadfastly observant, carefully detailed and with the capacity to twin trauma and beauty, Gould’s debut collection represents some of …
Cover art by Ian Friend My plumbing? Not exactly. But, well, after 14 months in the planning, making, mulling, and editing, it’s finally here: Arc Poetry Magazine 75: The Arc-Cordite Poetry Special Issue. Shane Rhodes and I (Kent MacCarter) co-wrote …
Italo Calvino argued that writing was a combinatorial exercise and that, for him, reading represented ‘a way of exercising the potentialities contained in the system of signs’. I would like to keep this declarative at the forefront of our investigation into the work of Terrance Houle, neither with a confirmative bias not leaning towards negating the statement of Calvino, but thinking through his statement in our analysis of a few of Houle’s images.
Yet once more, in commodity crops, again in aster yellows, with merits in stacked resistance, I scramble for feed coverage and demand the forward position. It is important to reduce shattering before late crop reports filter in. Bitter constraint is …
In 1966 Prynne emphasised the necessity for poetry to ‘emphatically reclaim the power of knowledge for each and any of us in our common answerability as the creatures of language.’[1. Keston Sutherland, “Hilarious Absolute Daybreak,” Glossator: Theory and Practice of the Commentary, 2 (2010): 115-148, 117.] The ekphrastic, proprioceptive and dedicatory analysis that Prynne demanded of his readers through Kitchen Poems and The White Stone reaches a point of crescendo with Brass in 1971.
Queensland Poetry Festival is thrilled to welcome award-winning Canadian poet Shane Rhodes as the 2013 Arts Queensland Poet in Residence. Since the residency program began in 2005, Queenslanders have had the pleasure of hosting an international poet for three months each year, bringing their ideas and creative energy to inform, influence, and engage fellow poets.
How does one review a book of poems that has no table of contents and no page numbers? More to the point, perhaps, is how does one read such a book? What do those absences signify? Individual poems have titles, yet they seem to move on, almost glide on, from what preceded them, and into what follows. “Artifice’, the book’s first poem in the section ‘Harm’s Light’ in fact has each section beginning with the last line or two of the preceding section, pausing, but resuming , then handing on to its successor.
There is only one appropriate way to begin my first news post as Managing Editor of Cordite – that being to extend, then extend further, then possibly dislocating my e-arm in extending further still, a massive thank you (for all …