- FREE: 20 Poets anthology
- 92: NO THEME VIIISUBMIT to C Gaskin 91: MONSTERwith N Curnow, coming soon! 90: AFRO AUSTRALIANwith S Umar 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
- Aidan Coleman Reviews New and Selected Poems of Anna Wickham
- Ivy Ireland Reviews Ali Whitelock’s and my heart crumples like a coke can
- Editorial to AFRO AUSTRALIAN
- 4 Works by Guled Abdulwasi
- The Platonic Split
- you have no idea how far i swam
- To the still
- Garden of Grace
- Bloody QnA
- The Physics of Self
- Life Poem
- go ahead, call it magic
- Chalk to Charcoal
- (un) learning
- 3 Sisters
- Blood Fuel
- Raelee Lancaster Reviews Alison Whittaker’s Blakwork
- Alex Creece Reviews Marion May Campbell’s third body
- Ivy Ireland Reviews Steve Armstrong
- Magan Magan Reviews deciBels 3
- Claire Albrecht Reviews Manisha Anjali’s Sugar Kane Woman
- Review Short: Simeon Kronenberg’s Distance
A secret cave in the glacial wastes of gas and air stretching beyond all comprehending: a light, tiny, unwavered, the faint glow a beacon to that chiefest coven of principals, prior to the fall the greatest array of lordly wings …
Dave Drayton’s Haiturograms is a brief but confounding volume, available as a free PDF download and print-to-order book from Sydney-based SOd press. Like Drayton’s other work, HaiturogramS is driven by formal constraint and innovation within that constraint.
Composed of nine distinct sections, Canadian poet Monty Reid’s Meditatio Placentae is more like a collection of chapbooks than individual poems. Most of those nine sections have previously appeared as separate publications, and each certainly works as a discrete sequence. The whole is loosely held together by a combination of mundane subjects and a nightmare-like, alien perceptiveness; rather than building a continuous collection, the sections create a context of transition from one mode to another.
The bio of Duncan Bruce Hose describes the Australian poet as coming from ‘the softslang line of the chansonnier, whose reference points range between Trefoil Island, Melbourne and Coney Island.’ In Bunratty, his third collection, that ‘softslang line’ delivers a suite of deftly composed (post)modernist folk songs, characterised by a highly idiosyncratic orthography and a preoccupation with sex and booze.
Ouyang Yu is a prolific writer whose combination of occupations – poet, novelist, translator, academic – gives some context to this book’s obsessive engagement with word, language and meaning. His biographical note mentions that he came to Australia at the age of 35, and there’s a pervasive trope in Fainting with Freedom of a stranger-in-a-strange-land’s curiosity for the materiality of language and its malleability: something akin to what Kerouac once alluded to when he described his relationship to English – a language he didn’t learn until he was eight – as a tool he could very consciously manipulate as necessary for effect and meaning.
Reading Michael Aiken’s A Vicious Example is like walking out of the pub and wandering city streets at 4 am, half-drunk and in sub-conscious wonder. The strangeness of it all: What year is it again? Where are we? Aiken’s collection is fragmented, forming thought-voices into obscure imagery that settles and unsettles on the mind. Aiken’s voice is lethargic, hopeless. There is only one narrative to this text that I can find, which from the beginning locates us and the poems in the Australian city. In the opening poem Aiken welcomes us to ‘come and see …’ what the rest of the country looks like after colonisation’s ‘Theft by Discovery’.